The Latinx community is the largest and fastest-growing ethnic group in the United States. However, there is a gap between the demand for accurate information and the supply of it. To address the need, KQED offers a range of journalism, events and engagement of interest to, by, and with Bay Area Latinx audiences.
For Bay Area Latinos, World Cup Is a Celebration of Pride and Identity
At 250, America’s Story Includes California Long Before It Was American
Carnaval San Francisco 2026: From Parade Route to Parking, What to Know This Weekend
Carnaval San Francisco Turns Music, Memory and Resistance Into Celebration
La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’
What Picking Cherries Taught Me as California Reconsiders Farmworker Legacy
The Best San José Anthems, as Chosen by DJ Cutso
How Jimmy Smits and Wanda De Jesús Help Reimagine ‘All My Sons’ at Berkeley Rep
While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants
Venezuelan Dance Group in the Bay Area Keeps Culture Alive for a New Generation
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>San Francisco resident Salvador Rodriguez started planning — and saving up — for this year’s \u003ca href=\"https://www.kqed.org/news/tag/world-cup\">World Cup\u003c/a> eight years ago when the United States, Mexico and Canada were named host nations.\u003c/p>\n\u003cp>The independent journalist publishes “\u003ca href=\"https://the2026dispatch.substack.com/\">The 2026 Dispatch\u003c/a>,” a Substack newsletter featuring reporting and personal reflections on the World Cup. He plans to attend at least a dozen matches, including the opener in Mexico City and the final in New York City, as well as matches in Atlanta, Seattle, Dallas and Philadelphia among other cities.\u003c/p>\n\u003cp>“I personally measure my life based on World Cups,” Rodriguez, 36, said. “If you bring up basically any World Cup and I could tell you where I was during it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Latino fans have long been the backbone of soccer culture in the United States, and many are expected to help fuel interest in the 2026 World Cup as the tournament unfolds across North America.\u003c/p>\n\u003cp>Despite concerns about high ticket prices, immigration policies and the politics surrounding the event, fans across the Bay Area say the World Cup remains a powerful expression of cultural pride, family heritage and connection to countries they or their relatives still call home.\u003c/p>\n\u003cfigure id=\"attachment_12087320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Salvador Rodriguez, right, with his mother, Aida Rodriguez, outside of the Estadio Azteca in Mexico City. \u003ccite>(Courtesy of Salvador Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodriguez agrees that there is plenty to criticize about the World Cup, from \u003ca href=\"https://www.kqed.org/news/12086953/the-world-cup-has-arrived-in-the-san-francisco-bay-area-is-anyone-else-coming\">high ticket prices\u003c/a> and \u003ca href=\"https://www.nytimes.com/2026/05/27/nyregion/fifa-indictments-soccer-dismissed.html\">administrative corruption\u003c/a> to a lackluster lineup of matches slated for\u003ca href=\"https://www.kqed.org/news/12086949/levis-stadium-is-no-more-san-francisco-bay-area-stadium-hosts-world-cup\"> the Bay Area\u003c/a>. Still, he said, there is nothing like the World Cup, especially for fans from Latin America, where soccer reigns supreme and love of national teams is paramount.\u003c/p>\n\u003cp>“It’s very rare that the majority of the world comes together in a way where everyone can compete, but also have cultural exchanges,” Rodriguez said before departing for Mexico. “For the people who want to focus on that, they’re going to have an amazing time. And even if you don’t have a lot of money to spend, there’s so many great ways to partake.”\u003c/p>\n\u003cp>While Rodriguez attended the opening match in Mexico City, a few hundred people gathered Thursday at the Spark Social SF Food Truck Park in San Francisco’s Mission Bay to watch Mexico’s 2-0 win over South Africa.[aside postID=news_12086953 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/060926Paraguay-SJSU_GH_009.jpg']As soccer slowly gains traction among U.S. sports fans, Latine fans are driving much of the growth, thanks in part to the legacy of soccer fandom from Latin America.\u003c/p>\n\u003cp>“I love the World Cup. I think it’s so beautiful. I get really emotional during it,” said Cynthia Villamizar of San Francisco, who came to the food truck park with her husband and 7-week-old son.\u003c/p>\n\u003cp>“My dad is from Colombia. My mom’s from Ecuador, so both teams are represented. And my husband’s from India, who I don’t think is represented,” she continued. “But either way, the World Cup represents a beautiful, multicultural, global moment. And our baby is one of those global moments. So it’s a whole family thing.”\u003c/p>\n\u003cp>Latine fans make up much of the growth of soccer in the United States. A 2022 \u003ca href=\"https://www.prnewswire.com/news-releases/telemundo-rolls-out-the-future-is-futbol-a-comprehensive-report-on-the-state-of-soccer-the-fastest-growing-major-team-sport-in-america-301619868.html\">report\u003c/a> from NBCUniversal Telemundo Enterprises found that among U.S. Latinos ages 16 and older, 73% say they are soccer fans and 22% described themselves as “superfans” — more than triple the share of non-Hispanics who ascribe to that term.\u003c/p>\n\u003cp>“We definitely see the World Cup as a big opportunity,” said Javier Garcia, senior vice president of multicultural growth for cable and internet provider Comcast. “For multicultural consumers, it is very clear that it’s a huge opportunity. We see soccer as a sport that continues to grow in the United States. We know that is the future and that’s why we’re putting all the investment and efforts behind it.”\u003c/p>\n\u003cp>A sea of fans in green Mexico jerseys packed picnic tables in the lawn area at Spark SF under a bright midday sun. They sipped beers, noshed on plates from food trucks while keeping their eyes fixed on a giant TV broadcasting the match.\u003c/p>\n\u003cfigure id=\"attachment_12087343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans express disbelief while watching the Mexico vs. South Africa World Cup game at a watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The World Cup is such a moment for our cultures to shine on a global stage, for people to just celebrate where they’re from, whether they were born there or not,” Villamizar said. “Especially for American-born Latinos, it’s a way to represent for a country that their family celebrates.”\u003c/p>\n\u003cp>Luis Pablo Michel, a 27-year-old from San José, said U.S. hostility toward immigrants and foreign visitors – including World Cup players – along with high ticket prices, is putting a damper on this year’s celebration.\u003c/p>\n\u003cp>“I’m not paying $200 to watch only from the top,” he said. “It’s like the first time you get excited about the World Cup, and it’s like you’re outmatched, you’re outpriced, and it’s kind of a sad thing.”\u003c/p>\n\u003cfigure id=\"attachment_12087328\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Luis Pablo Michel poses for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, he was excited to watch the opener with his girlfriend.\u003c/p>\n\u003cp>“I love soccer. I love Mexico,” he said. “What are you going to do, you know? It’s the World Cup. You’re going to watch it.”\u003c/p>\n\u003cp>Nataly and Aimee Rendon, two sisters from San Pablo, also came out to watch Mexico play.\u003c/p>\n\u003cfigure id=\"attachment_12087329\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Aimee Rendon (left) and Natalie Rendon (right) pose for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m feeling excited, mostly excited,” said Nataly Rendon, 30. “I’m excited for everyone, all the cultures to visit different countries and just get to know other places of the world.”\u003c/p>\n\u003cp>At the same time, Aimee Rendon, 29, said it’s important to recognize other issues surrounding the festivities, like\u003ca href=\"https://www.npr.org/2026/06/08/nx-s1-5850429/as-mexico-hosts-the-world-cup-families-of-the-disappeared-keep-searching\"> families of missing people \u003c/a>protesting at games in Mexico or \u003ca href=\"http://theguardian.com/football/2026/jun/11/iran-world-cup-tijuana-security-camp-mexico\">the Iranian National Team\u003c/a> being barred from preparing in the United States.\u003c/p>\n\u003cp>As Mexican-Americans, they were also excited to cheer for their parents’ home country.\u003c/p>\n\u003cfigure id=\"attachment_12087339\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A handkerchief with a Mexico flag design rests on a picnic table at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rooting for Mexico “feels natural,” Nataly Rendon said. “I feel like it’s más orgullo mexicano, definitely, 100%.”\u003c/p>\n\u003cp>Ana Guzman, 37, took the day off and drove from her home in Stockton with her daughter to San Francisco for “the vibe.”\u003c/p>\n\u003cp>“The World Cup really brings out something in us — our pride, our heritage, our culture,” Guzman, who is Mexican-American, said. “Every four years you will catch me watching the World Cup.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>San Francisco resident Salvador Rodriguez started planning — and saving up — for this year’s \u003ca href=\"https://www.kqed.org/news/tag/world-cup\">World Cup\u003c/a> eight years ago when the United States, Mexico and Canada were named host nations.\u003c/p>\n\u003cp>The independent journalist publishes “\u003ca href=\"https://the2026dispatch.substack.com/\">The 2026 Dispatch\u003c/a>,” a Substack newsletter featuring reporting and personal reflections on the World Cup. He plans to attend at least a dozen matches, including the opener in Mexico City and the final in New York City, as well as matches in Atlanta, Seattle, Dallas and Philadelphia among other cities.\u003c/p>\n\u003cp>“I personally measure my life based on World Cups,” Rodriguez, 36, said. “If you bring up basically any World Cup and I could tell you where I was during it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Latino fans have long been the backbone of soccer culture in the United States, and many are expected to help fuel interest in the 2026 World Cup as the tournament unfolds across North America.\u003c/p>\n\u003cp>Despite concerns about high ticket prices, immigration policies and the politics surrounding the event, fans across the Bay Area say the World Cup remains a powerful expression of cultural pride, family heritage and connection to countries they or their relatives still call home.\u003c/p>\n\u003cfigure id=\"attachment_12087320\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260612-K-ONDA-LATINO-WORLD-CUP-STORY-01-KQED-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Salvador Rodriguez, right, with his mother, Aida Rodriguez, outside of the Estadio Azteca in Mexico City. \u003ccite>(Courtesy of Salvador Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rodriguez agrees that there is plenty to criticize about the World Cup, from \u003ca href=\"https://www.kqed.org/news/12086953/the-world-cup-has-arrived-in-the-san-francisco-bay-area-is-anyone-else-coming\">high ticket prices\u003c/a> and \u003ca href=\"https://www.nytimes.com/2026/05/27/nyregion/fifa-indictments-soccer-dismissed.html\">administrative corruption\u003c/a> to a lackluster lineup of matches slated for\u003ca href=\"https://www.kqed.org/news/12086949/levis-stadium-is-no-more-san-francisco-bay-area-stadium-hosts-world-cup\"> the Bay Area\u003c/a>. Still, he said, there is nothing like the World Cup, especially for fans from Latin America, where soccer reigns supreme and love of national teams is paramount.\u003c/p>\n\u003cp>“It’s very rare that the majority of the world comes together in a way where everyone can compete, but also have cultural exchanges,” Rodriguez said before departing for Mexico. “For the people who want to focus on that, they’re going to have an amazing time. And even if you don’t have a lot of money to spend, there’s so many great ways to partake.”\u003c/p>\n\u003cp>While Rodriguez attended the opening match in Mexico City, a few hundred people gathered Thursday at the Spark Social SF Food Truck Park in San Francisco’s Mission Bay to watch Mexico’s 2-0 win over South Africa.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As soccer slowly gains traction among U.S. sports fans, Latine fans are driving much of the growth, thanks in part to the legacy of soccer fandom from Latin America.\u003c/p>\n\u003cp>“I love the World Cup. I think it’s so beautiful. I get really emotional during it,” said Cynthia Villamizar of San Francisco, who came to the food truck park with her husband and 7-week-old son.\u003c/p>\n\u003cp>“My dad is from Colombia. My mom’s from Ecuador, so both teams are represented. And my husband’s from India, who I don’t think is represented,” she continued. “But either way, the World Cup represents a beautiful, multicultural, global moment. And our baby is one of those global moments. So it’s a whole family thing.”\u003c/p>\n\u003cp>Latine fans make up much of the growth of soccer in the United States. A 2022 \u003ca href=\"https://www.prnewswire.com/news-releases/telemundo-rolls-out-the-future-is-futbol-a-comprehensive-report-on-the-state-of-soccer-the-fastest-growing-major-team-sport-in-america-301619868.html\">report\u003c/a> from NBCUniversal Telemundo Enterprises found that among U.S. Latinos ages 16 and older, 73% say they are soccer fans and 22% described themselves as “superfans” — more than triple the share of non-Hispanics who ascribe to that term.\u003c/p>\n\u003cp>“We definitely see the World Cup as a big opportunity,” said Javier Garcia, senior vice president of multicultural growth for cable and internet provider Comcast. “For multicultural consumers, it is very clear that it’s a huge opportunity. We see soccer as a sport that continues to grow in the United States. We know that is the future and that’s why we’re putting all the investment and efforts behind it.”\u003c/p>\n\u003cp>A sea of fans in green Mexico jerseys packed picnic tables in the lawn area at Spark SF under a bright midday sun. They sipped beers, noshed on plates from food trucks while keeping their eyes fixed on a giant TV broadcasting the match.\u003c/p>\n\u003cfigure id=\"attachment_12087343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00635_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans express disbelief while watching the Mexico vs. South Africa World Cup game at a watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The World Cup is such a moment for our cultures to shine on a global stage, for people to just celebrate where they’re from, whether they were born there or not,” Villamizar said. “Especially for American-born Latinos, it’s a way to represent for a country that their family celebrates.”\u003c/p>\n\u003cp>Luis Pablo Michel, a 27-year-old from San José, said U.S. hostility toward immigrants and foreign visitors – including World Cup players – along with high ticket prices, is putting a damper on this year’s celebration.\u003c/p>\n\u003cp>“I’m not paying $200 to watch only from the top,” he said. “It’s like the first time you get excited about the World Cup, and it’s like you’re outmatched, you’re outpriced, and it’s kind of a sad thing.”\u003c/p>\n\u003cfigure id=\"attachment_12087328\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087328\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00033_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Luis Pablo Michel poses for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, he was excited to watch the opener with his girlfriend.\u003c/p>\n\u003cp>“I love soccer. I love Mexico,” he said. “What are you going to do, you know? It’s the World Cup. You’re going to watch it.”\u003c/p>\n\u003cp>Nataly and Aimee Rendon, two sisters from San Pablo, also came out to watch Mexico play.\u003c/p>\n\u003cfigure id=\"attachment_12087329\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087329\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00048_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sisters Aimee Rendon (left) and Natalie Rendon (right) pose for a portrait at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m feeling excited, mostly excited,” said Nataly Rendon, 30. “I’m excited for everyone, all the cultures to visit different countries and just get to know other places of the world.”\u003c/p>\n\u003cp>At the same time, Aimee Rendon, 29, said it’s important to recognize other issues surrounding the festivities, like\u003ca href=\"https://www.npr.org/2026/06/08/nx-s1-5850429/as-mexico-hosts-the-world-cup-families-of-the-disappeared-keep-searching\"> families of missing people \u003c/a>protesting at games in Mexico or \u003ca href=\"http://theguardian.com/football/2026/jun/11/iran-world-cup-tijuana-security-camp-mexico\">the Iranian National Team\u003c/a> being barred from preparing in the United States.\u003c/p>\n\u003cp>As Mexican-Americans, they were also excited to cheer for their parents’ home country.\u003c/p>\n\u003cfigure id=\"attachment_12087339\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12087339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/06/260611-KONDAWORLDCUP00413_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A handkerchief with a Mexico flag design rests on a picnic table at a Mexico vs. South Africa World Cup watch party at SPARK Social SF in San Francisco on June 11, 2026. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rooting for Mexico “feels natural,” Nataly Rendon said. “I feel like it’s más orgullo mexicano, definitely, 100%.”\u003c/p>\n\u003cp>Ana Guzman, 37, took the day off and drove from her home in Stockton with her daughter to San Francisco for “the vibe.”\u003c/p>\n\u003cp>“The World Cup really brings out something in us — our pride, our heritage, our culture,” Guzman, who is Mexican-American, said. “Every four years you will catch me watching the World Cup.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I have a hard time imagining \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> when it was founded 250 years ago. Few people inhabited the hilly, foggy landscape. Mission Dolores, officially Misión San Francisco de Asís, was a small chapel made of adobe — the only original intact building from that time.\u003c/p>\n\u003cp>Construction on the Presidio was just beginning. Most of the inhabitants were Indigenous people and some Spanish families who came this far north in Alta California because they had few options elsewhere.\u003c/p>\n\u003cp>San Francisco was more of an undesirable, remote village than the bewitching metropolis it is now.\u003c/p>\n\u003cp>As our nation nears what’s being called our 250th birthday — the anniversary of the signing of the Declaration of Independence — I’ve been thinking about what it means to be a citizen of this nation now in the Bay Area, which was not even part of the United States in 1776. At the time, California was part of the Spanish colony that would later become Mexico.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back 250 years is an opportunity to highlight the long legacy of Indigenous, Spanish and Mexican culture in the United States. We were here before there was a United States and, while that seems obvious, I find it worth repeating because we have been and continue to be treated as outsiders, as foreigners and as a threat.\u003c/p>\n\u003cp>I reached out to historian Steven W. Hackel, who teaches at UC Riverside and has written extensively about the Bay Area’s history before the Gold Rush.\u003c/p>\n\u003cp>“A lot of people would have asserted for many years that California’s history began with the Gold Rush and statehood,” he told me. “That’s sort of when all the lights came on at once, which really sweeps aside the early Spanish, Native American and Mexican history of California. So I spent much of my career trying to argue against that.”\u003c/p>\n\u003cp>One reason for the oversight, Hackel said, could be prejudice. The early history of Northern California is less interesting because most of the historical documents are in Spanish and the focus is on the original Indigenous inhabitants and Spanish settlers who brought Catholicism. Another reason is that it’s considered Mexican history.\u003c/p>\n\u003cp>“We had a very complex and significant colonial period in California. And the 1770s are when the Bay Area was really colonized richly. All the native groups that are in the immediate Bay Area region are either pulled into California missions or certainly engage with them at some level,” Hackel said.[aside postID=news_12079414 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2015/06/20150522-CynthiaWoodPhoto-DSC_7143.jpg']“Is the settlement of California a part of the settlement of Mexico? I mean, there’s no question. Our history is colonial Latin American history. It’s not British North American history.”\u003c/p>\n\u003cp>When I was growing up, my mother, who had been a schoolteacher in Mexico before she emigrated, was the first person to inform me that the United States had “stolen half of Mexico.” It was a history that was frankly brushed over in my AP American history class in high school and that I had to research on my own. For years, I was angry that one nation could steal another’s territory and gloss it over by calling it “Manifest Destiny.”\u003c/p>\n\u003cp>I have since realized that being angry about history doesn’t accomplish much — unless that anger is applied to understand the present and future in a different way.\u003c/p>\n\u003cp>Last September, the Supreme Court ruled that immigration agents can legally question people based on their apparent ethnicity, accent and place of work — in other words, making racial profiling legal.\u003c/p>\n\u003cp>These so-called “Kavanaugh stops” are one of many ways the Trump administration’s crackdown on immigration has disproportionately punished Latine communities across the country despite the fact that the majority of Latines were born in the United States.\u003c/p>\n\u003cp>I produced a Forum episode in April about the psychological and behavioral toll of immigration enforcement on Latinos that was partly inspired by \u003cem>The Atlantic\u003c/em> article titled, The Risk of Speaking Spanish in Public, which described young people’s fears of being targeted by ICE just because they “look Hispanic” or have a Spanish name.\u003c/p>\n\u003cp>And by “looking Hispanic,” we know that means having dark skin even though people from Latin America come in every color and ethnicity. Still, it seems like a cruel irony that having brown skin, which connotes having more indigenous ancestry, makes you more “suspicious” to immigration agents.\u003c/p>\n\u003cp>One of the guests on the show, Stanford sociologist Tomás R. Jiménez, told me that the Trump administration’s policies are reshaping the idea of who qualifies as American by making it an official policy to question anyone who doesn’t fit the prototypical look of what people associate with “American.”\u003c/p>\n\u003cp>“Policies don’t just tell us what we can and can’t do; they tell us who we are,” Jiménez said.\u003c/p>\n\u003cp>I grew up not questioning if I was American enough. I didn’t have time for that. The question of belonging was not important given that I was on a mission, like many children of immigrants, to make my parents’ sacrifice worth it, to succeed, and “make it.” I didn’t question my Americanness because I was born and bred here. I was more concerned with not losing my Mexicanness in a society that looked down on people like me.\u003c/p>\n\u003cp>One of the byproducts of Trump’s anti-immigrant policies is to discredit and delegitimize people who don’t fit his vision of a true “American,” but of course that didn’t start with this administration. Sometimes historians choose to overlook history that doesn’t fit their worldview.\u003c/p>\n\u003cp>“There are competing versions of what it means to be American, and those competing versions have always been there,” Jiménez said. “American identity is not one thing, and there are people who are trying to make it one thing, but we are a country that has welcomed immigrants from all over the world and, by global comparison, have created a country that has had lots of social mobility for immigrants and their descendants.”\u003c/p>\n\u003cp>And that is what I’ll be thinking about when America turns 250 next month — that I, and my history, belong here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I have a hard time imagining \u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> when it was founded 250 years ago. Few people inhabited the hilly, foggy landscape. Mission Dolores, officially Misión San Francisco de Asís, was a small chapel made of adobe — the only original intact building from that time.\u003c/p>\n\u003cp>Construction on the Presidio was just beginning. Most of the inhabitants were Indigenous people and some Spanish families who came this far north in Alta California because they had few options elsewhere.\u003c/p>\n\u003cp>San Francisco was more of an undesirable, remote village than the bewitching metropolis it is now.\u003c/p>\n\u003cp>As our nation nears what’s being called our 250th birthday — the anniversary of the signing of the Declaration of Independence — I’ve been thinking about what it means to be a citizen of this nation now in the Bay Area, which was not even part of the United States in 1776. At the time, California was part of the Spanish colony that would later become Mexico.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking back 250 years is an opportunity to highlight the long legacy of Indigenous, Spanish and Mexican culture in the United States. We were here before there was a United States and, while that seems obvious, I find it worth repeating because we have been and continue to be treated as outsiders, as foreigners and as a threat.\u003c/p>\n\u003cp>I reached out to historian Steven W. Hackel, who teaches at UC Riverside and has written extensively about the Bay Area’s history before the Gold Rush.\u003c/p>\n\u003cp>“A lot of people would have asserted for many years that California’s history began with the Gold Rush and statehood,” he told me. “That’s sort of when all the lights came on at once, which really sweeps aside the early Spanish, Native American and Mexican history of California. So I spent much of my career trying to argue against that.”\u003c/p>\n\u003cp>One reason for the oversight, Hackel said, could be prejudice. The early history of Northern California is less interesting because most of the historical documents are in Spanish and the focus is on the original Indigenous inhabitants and Spanish settlers who brought Catholicism. Another reason is that it’s considered Mexican history.\u003c/p>\n\u003cp>“We had a very complex and significant colonial period in California. And the 1770s are when the Bay Area was really colonized richly. All the native groups that are in the immediate Bay Area region are either pulled into California missions or certainly engage with them at some level,” Hackel said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Is the settlement of California a part of the settlement of Mexico? I mean, there’s no question. Our history is colonial Latin American history. It’s not British North American history.”\u003c/p>\n\u003cp>When I was growing up, my mother, who had been a schoolteacher in Mexico before she emigrated, was the first person to inform me that the United States had “stolen half of Mexico.” It was a history that was frankly brushed over in my AP American history class in high school and that I had to research on my own. For years, I was angry that one nation could steal another’s territory and gloss it over by calling it “Manifest Destiny.”\u003c/p>\n\u003cp>I have since realized that being angry about history doesn’t accomplish much — unless that anger is applied to understand the present and future in a different way.\u003c/p>\n\u003cp>Last September, the Supreme Court ruled that immigration agents can legally question people based on their apparent ethnicity, accent and place of work — in other words, making racial profiling legal.\u003c/p>\n\u003cp>These so-called “Kavanaugh stops” are one of many ways the Trump administration’s crackdown on immigration has disproportionately punished Latine communities across the country despite the fact that the majority of Latines were born in the United States.\u003c/p>\n\u003cp>I produced a Forum episode in April about the psychological and behavioral toll of immigration enforcement on Latinos that was partly inspired by \u003cem>The Atlantic\u003c/em> article titled, The Risk of Speaking Spanish in Public, which described young people’s fears of being targeted by ICE just because they “look Hispanic” or have a Spanish name.\u003c/p>\n\u003cp>And by “looking Hispanic,” we know that means having dark skin even though people from Latin America come in every color and ethnicity. Still, it seems like a cruel irony that having brown skin, which connotes having more indigenous ancestry, makes you more “suspicious” to immigration agents.\u003c/p>\n\u003cp>One of the guests on the show, Stanford sociologist Tomás R. Jiménez, told me that the Trump administration’s policies are reshaping the idea of who qualifies as American by making it an official policy to question anyone who doesn’t fit the prototypical look of what people associate with “American.”\u003c/p>\n\u003cp>“Policies don’t just tell us what we can and can’t do; they tell us who we are,” Jiménez said.\u003c/p>\n\u003cp>I grew up not questioning if I was American enough. I didn’t have time for that. The question of belonging was not important given that I was on a mission, like many children of immigrants, to make my parents’ sacrifice worth it, to succeed, and “make it.” I didn’t question my Americanness because I was born and bred here. I was more concerned with not losing my Mexicanness in a society that looked down on people like me.\u003c/p>\n\u003cp>One of the byproducts of Trump’s anti-immigrant policies is to discredit and delegitimize people who don’t fit his vision of a true “American,” but of course that didn’t start with this administration. Sometimes historians choose to overlook history that doesn’t fit their worldview.\u003c/p>\n\u003cp>“There are competing versions of what it means to be American, and those competing versions have always been there,” Jiménez said. “American identity is not one thing, and there are people who are trying to make it one thing, but we are a country that has welcomed immigrants from all over the world and, by global comparison, have created a country that has had lots of social mobility for immigrants and their descendants.”\u003c/p>\n\u003cp>And that is what I’ll be thinking about when America turns 250 next month — that I, and my history, belong here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "carnaval-san-francisco-2026-parade-route-map-parking-headliners-mi-banda-el-mexicano-world-cup-muni-street-closures",
"title": "Carnaval San Francisco 2026: From Parade Route to Parking, What to Know This Weekend",
"publishDate": 1779382109,
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"headTitle": "Carnaval San Francisco 2026: From Parade Route to Parking, What to Know This Weekend | KQED",
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"content": "\u003cp>This weekend, \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> will take over the streets of San Francisco’s Mission District, bringing a flurry of colors, feathers and sequins — moving to the beats of samba, regional mexicano and reggaeton.\u003c/p>\n\u003cp>This community celebration, now in its 48th year, will fall on Memorial Day weekend: Saturday, May 23 and Sunday, May 24.\u003c/p>\n\u003cp>With \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">a two-day festival\u003c/a> featuring headliner Mi Banda el Mexicano de Casimiro on Saturday and the \u003ca href=\"https://carnavalsanfrancisco.org/parade/\">Grand Parade\u003c/a> on Sunday, made up of over 70 different contingents, Carnaval is one of San Francisco’s most emblematic celebrations – and it’s all completely free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">What time does Carnaval San Francisco start on Memorial Day weekend?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#MAPWherecanIwatchtheCarnavalSanFranciscoparade\">MAP: Where can I watch the Carnaval San Francisco parade?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#WherecanIfindparkingatCarnavalSanFrancisco\">Where can I find parking at Carnaval San Francisco?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Never seen the Grand Parade before? Picture Mission Street not full of the usual commuter traffic and Muni buses — but instead brimming with beautifully decorated floats accompanied by thousands of dancers and musicians representing the many cultures of Latin America and the Caribbean.\u003c/p>\n\u003cfigure id=\"attachment_11987833\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987833\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg\" alt=\"A woman dressed in a colorful costume walks during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performer in the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s just Sunday. With over 3,000 dancers, musicians and artists sharing their work throughout the entire weekend, it’s hard to run out of things to do at Carnaval.\u003c/p>\n\u003cp>Keep reading for all the information you need to make the most of Carnaval 2026 this weekend.\u003c/p>\n\u003ch2>Carnaval 2026: Bringing soccer back to the people\u003c/h2>\n\u003cp>Back in 1979, Carnaval was first held in SF’s Precita Park as part of an effort by artists and organizers to pay homage to the historic Carnaval celebrations across Latin America and the Caribbean — while giving a platform for local musicians and dancers to come together and pass on their traditions.\u003c/p>\n\u003cp>Decades later, this community celebration has now grown to include over twenty blocks of the Mission District, making it one of the biggest celebrations of its kind on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_12044957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12044957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Lima #24 of San José Earthquakes with the ball tackled by Jayden Reid #99 of St. Louis City SC during the second half of an MLS game between St. Louis City SC and San José Earthquakes at Energizer Park on May 31, 2025, in St Louis, Missouri. \u003ccite>(Bill Barrett/ISI Photos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, Carnaval is embracing soccer as its theme, Executive Director Rodrigo Durán said. “Soccer is deeply ingrained in Latin American culture,” he said. “This is the people we serve. These are the people that we dance with. The World Cup coming to the Bay really meant a lot for the many people involved in Carnaval.”\u003c/p>\n\u003cp>As the Bay Area prepares to host \u003ca href=\"https://www.kqed.org/news/12083101/world-cup-2026-bay-area-games-where-is-fifa-world-cup-santa-clara-levis-stadium-tickets-fan-zone-watch-parties\">six World Cup games this summer\u003c/a>, Durán said that community events like Carnaval help keep soccer accessible to all. “You don’t need an expensive ticket to come to Carnaval, because it’s 100% free,” he said, adding that event organizers have partnered up with \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local teams\u003c/a> like Bay FC, the Oakland Roots and San Francisco City FC to host scrimmages, giveaways and soccer workshops all weekend long.\u003c/p>\n\u003cp>“Come play soccer, come see wonderful players, or reconnect yourself with that wonderful game of soccer,” he said. “We want this to be the cup of the people — la copa del pueblo.”\u003c/p>\n\u003ch2>\u003ca id=\"WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">\u003c/a>Where is Carnaval San Francisco, and what’s the schedule?\u003c/h2>\n\u003cp>Carnaval has two main components: the festival and Sunday’s Grand Parade.\u003c/p>\n\u003cp>The festival happens on Saturday and Sunday: on both days, gates open at 11 a.m. and festivities wrap up by 6 p.m.\u003c/p>\n\u003cp>The festival will take place on Harrison Street, from 16th to 24th streets. Hundreds of artisans and food vendors fill up this space, with DJs playing at block parties on 18th, 20th and 21st streets.\u003c/p>\n\u003cfigure id=\"attachment_11987825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg\" alt=\"A man and woman dance in white clothing and colorful dresses in the street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Mi Tierra Colombiana practice before the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four stages will be set up throughout Harrison Street, featuring performances from headliner Mi Banda el Mexicano de Casimiro.\u003c/p>\n\u003cp>Led by Casimiro Zamudio, the band — whose signature sound blends traditional banda percussion with elements of electronic music — became a household name for many families in the 90s with hits like “Feliz Feliz,” “La Bota” and “No Bailes de Caballito.” If you’ve been to a quinceañera and this band comes on, that means you \u003cem>got \u003c/em>to go dance.\u003c/p>\n\u003cp>Dozens of other live performances are scheduled throughout the neighborhood on both days, including a tribute to the \u003ca href=\"https://www.kqed.org/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco\">late Bay Area rock icon and academic\u003c/a> José Cuéllar, also known as Dr. Loco: saxophonist, accordionist and vocalist of Dr. Loco’s Rockin’ Jalapeño Band. [aside postID=news_12083056 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/260511-KONDAMAY-03-BL-KQED.jpg']\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">Check out the full Carnaval 2026 festival lineup.\u003c/a>\u003c/p>\n\u003cp>Perhaps the biggest addition to this year’s festival is the area entirely dedicated to soccer on Harrison between 19th and 20th streets, where \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local soccer teams\u003c/a> will host scrimmages and giveaways throughout the weekend.\u003c/p>\n\u003cp>You can even \u003ca href=\"https://carnavalsanfrancisco.org/festival/#soccer-arena\">sign up ahead of time\u003c/a> to request a specific time for you and your team to play (3 vs. 3 and 5 vs. 5 options available). La Plaza del Fútbol — as organizers have named the space — is open to all genders and skill levels.\u003c/p>\n\u003cp>Throughout the weekend, \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">there will also be four different block parties\u003c/a>, each with live DJs hitting different musical styles.\u003c/p>\n\u003cp>One of those block parties — Colores de Amor on 19th and Harrison streets — will feature drag performances on Sunday by \u003ca href=\"https://www.instagram.com/per_sia/\">Per Sia\u003c/a> and \u003ca href=\"https://www.instagram.com/sweetestmilksf/\">Dulce De Leche\u003c/a>, along with DJ sets from \u003ca href=\"https://www.instagram.com/djbrownangel/\">Brown Angel\u003c/a>.\u003c/p>\n\u003ch2>Where are the entrances to the Carnaval 2026 festival?\u003c/h2>\n\u003cp>You’ll find free entrances (and exits) on every street from 16th to 24th streets, located at:\u003c/p>\n\u003cul>\n\u003cli>16th and Harrison\u003c/li>\n\u003cli>17th and Alabama\u003c/li>\n\u003cli>18th and Folsom\u003c/li>\n\u003cli>19th and Alabama\u003c/li>\n\u003cli>20th and Folsom\u003c/li>\n\u003cli>20th and Alabama\u003c/li>\n\u003cli>21st and Folsom\u003c/li>\n\u003cli>23rd and Folsom\u003c/li>\n\u003cli>23rd and Alabama\u003c/li>\n\u003cli>24th and Harrison.\u003c/li>\n\u003c/ul>\n\u003cp>Visitors cannot bring \u003ca href=\"https://carnavalsanfrancisco.org/faq/#festival\">outside alcoholic beverages\u003c/a> into the festival space. Alcohol is available for purchase inside the festival, but only in specific enclosed areas requiring visitors to provide identification for access. Pets are also not permitted in the festival space — except if they’re service animals.\u003c/p>\n\u003cp>Remember: Security staff will be present at each entrance to check bags.\u003c/p>\n\u003ch2>\u003ca id=\"MAPWherecanIwatchtheCarnavalSanFranciscoparade\">\u003c/a>When does the Carnaval Grand Parade start, and what’s the parade route?\u003c/h2>\n\u003cp>The Carnaval Grand Parade takes place on Sunday. Starting at 10 a.m., the parade features dozens of floats and hundreds of dancers moving through the entire neighborhood.\u003c/p>\n\u003cp>The Carnaval parade route begins at Bryant and 24th streets, then moves through 24th Street, takes a right on Mission Street, stays on that street all the way to 15th Street, and wraps up at Harrison and 15th streets.\u003c/p>\n\u003cp>The dancers and musicians in the parade perform nonstop the whole way, which is a particularly impressive feat when you consider that some of the most elaborate outfits can weigh up to 40 pounds.\u003c/p>\n\u003cp>On top of that, there’s a contest element — as contingents, or comparsas, compete against each other in multiple categories. Judges will rank each comparsa on originality, choreography and production design.\u003c/p>\n\u003cfigure id=\"attachment_12083325\" class=\"wp-caption alignleft\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg\" alt=\"\" width=\"547\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1-160x207.jpg 160w\" sizes=\"auto, (max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">The Grand Parade and festival map for the 2026 Carnaval San Francisco \u003ccite>(Carnaval San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you can’t make it exactly at the 10 a.m. parade start time, don’t worry: The parade goes on for hours before finally wrapping up at 2 p.m.\u003c/p>\n\u003cp>Can’t make it in person at all? \u003ca href=\"https://www.cbsnews.com/sanfrancisco/live/\">KPIX will be streaming the parade online.\u003c/a>\u003c/p>\n\u003ch2>A few things to look for at the Carnaval San Francisco Grand Parade\u003c/h2>\n\u003cp>What makes San Francisco’s Carnaval distinct from other Carnaval celebrations you may see in Rio de Janeiro or Barranquilla is that it embraces the multiple traditions and histories of California’s Latin American and Caribbean diasporas.\u003c/p>\n\u003cp>One tradition that San Francisco has carried on for decades: a few weeks before Carnaval weekend, community members choose a new King and Queen of Carnaval. This year, Chris Cornelious and Mizzy Ng will wear the crowns during the parade.\u003c/p>\n\u003cp>The 70 different comparsas that make up this year’s parade include long-standing groups like Flavaz of D’ Caribbean, who’ve won multiple Carnaval categories year after year with high-energy choreography representing the music of Trinidad and Tobago.\u003c/p>\n\u003cp>You can also spot the contingent from Tradición Peruana Cultural Center — one of the oldest community-led groups nationwide dedicated to Peruvian culture, which, despite losing its San Francisco home \u003ca href=\"https://missionlocal.org/2026/01/sf-peruvian-cultural-center-closes/\">earlier this year\u003c/a>, has continued to work with public schools to promote Peruvian dance and drumming.\u003c/p>\n\u003cp>And while you dance to the music, make sure to pay close attention to what the performers are wearing. Many comparsas start preparing their parade outfits months in advance.\u003c/p>\n\u003cp>For example, dancers with Carnaval Putleco, a comparsa which \u003ca href=\"https://www.kqed.org/news/11987673/carnaval-putleco-brings-a-oaxacan-festival-of-colors-to-the-bay-area\">honors the culture of Putla, Oaxaca,\u003c/a> by dancing with tiliches: incredibly colorful and elaborate full-body suits made by hand with hundreds of ribbons, shells and beads.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/parade/\">See the full list of participating comparsas at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>If the Carnaval San Francisco Grand Parade is free, can I just show up?\u003c/h2>\n\u003cp>Yes: no tickets or registration are required for the Carnaval parade — or the festival itself. Just show up anywhere along the parade route and enjoy the show.\u003c/p>\n\u003cp>However, if you want a unique vantage point, \u003ca href=\"https://givebutter.com/2026GrandstandSeating\">you can purchase special Grand Stand seats for the Carnaval parade\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11987820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amando Herrera Villa wears a tiliche handmade by his wife, Martha Cortés Rojas, with beads and ayoyote shells, during the Carnaval Grand Parade in San Francisco’s Mission District. Herrera Villa is part of the Oaxacan group Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These elevated bleachers, located along Mission Street between 22nd and 23rd streets, are next to the judges’ tables, where each contingent will pause and perform for an extra amount of time. Keep in mind that Grand Stand tickets will only be available before the parade and will not be sold day of.\u003c/p>\n\u003cp>There are no truly bad spots from which to watch the parade, but if you post up at 24th Street, you’ll be much closer to the performers — albeit a bit more cramped with foot traffic. If you’re on Mission Street, you’ll definitely have a lot more room to move around.\u003c/p>\n\u003ch2>Who’s headlining this year at Carnaval San Francisco?\u003c/h2>\n\u003cp>Over 50 musicians, DJs and dance groups will perform throughout the weekend across the four stages and five block parties located throughout Harrison Street.\u003c/p>\n\u003cp>This year’s headliner is Mi Banda el Mexicano de Casimiro — and getting the band to Carnaval is a dream come true, Durán said. When organizers made the announcement last month on social media, hundreds of fans quickly posted how excited they were about the group coming to the festival.\u003c/p>\n\u003cp>Even if you don’t know the group’s music just yet, stick around and watch how fans dance. Many of Banda El Mexicano’s greatest hits helped the \u003ca href=\"https://www.dazeddigital.com/art-photography/article/61840/1/quebradita-los-angeles-subculture-vaquero-cowboy-dance-james-pearson-howes-photo\">quebradita genre\u003c/a> of Mexican regional music reach wider audiences on both sides of the border throughout the 90s. And since dancing quebradita is an acrobatic feat, expect high kicks, flips in the air and backbends from within the crowd — all in one song.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">See the full list of performers at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>Is Carnaval San Francisco family-friendly?\u003c/h2>\n\u003cp>Yes: For many Bay Area families, going to Carnaval with the kids, teens and grandparents is a decades-long tradition.\u003c/p>\n\u003cp>In the festival space, organizers have set up a Kids Zone at Harrison and 18th Street where families can paint, dance and play drums. Families are also welcome to join the different activities scheduled at La Plaza del Fútbol.\u003c/p>\n\u003cfigure id=\"attachment_11987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Groups from Oaxaca dance on Mission Street during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find an area set up for skateboarding on 23rd and Harrison, next to a health and wellness pavilion offering testing for both COVID-19 and blood pressure.\u003c/p>\n\u003cp>Event staff will be present at several points throughout the festival, including an information booth on 19th and Harrison.\u003c/p>\n\u003ch2>\u003ca id=\"WherecanIfindparkingatCarnavalSanFrancisco\">\u003c/a>How do I get to Carnaval San Francisco? What about parking?\u003c/h2>\n\u003cp>If you’re planning to drive into the Mission during Carnaval weekend, it’s not going to be easy.\u003c/p>\n\u003cp>The areas surrounding Harrison Street, from 16th to 24th streets, will be closed off to cars the whole weekend, which means a huge amount of the neighborhood’s parking spots will be off-limits. Even residents will have to move their cars to make way for the festival, so there’ll be a lot of competition for the few remaining spots left.\u003c/p>\n\u003cp>“Driving in is not the best idea,” said Durán, who recommends that attendees instead use public transit to get to the celebrations.\u003c/p>\n\u003cfigure id=\"attachment_11987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg\" alt=\"Several people dance on the sidewalk during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators dance during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if you do need to drive, he suggested looking for a spot to the west of Harrison Street (past Valencia Street) as the streets on the eastern half of the Mission District will see the most competition for parking.\u003c/p>\n\u003cp>On Sunday, all cars parked along the Grand Parade route will have to move, including Mission Street from 24th Street to 15th Street, chunks of 24th and 15th streets as well, and sections of Bryant Street.\u003c/p>\n\u003cp>If you live on any of the streets that’ll be taken over by Carnaval this weekend and need to move your car in or out of your garage, look for a Carnaval staff member so they can escort your vehicle through the emergency access lanes.\u003c/p>\n\u003ch2>Taking public transit to Carnaval San Francisco\u003c/h2>\n\u003cp>BART will continue operating with a weekday schedule at both 16th and 24th Mission stations.\u003c/p>\n\u003cp>On Saturday, you can ride the 22, 33, 55 and 48 Muni bus routes, which will pass near the festival entrances, and the 9, 12, 14, 14R and 49 bus lines can drop you off a few blocks away. Prepare for your trip on Muni \u003ca href=\"https://www.sfmta.com/trip-planner\">using SFMTA’s online planning tool\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11911716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A bank of BART turnstiles at 24th Street Station. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFMTA officials confirmed with KQED that the complete list of Muni service affected by the festival and parade will be available a few days ahead of Carnaval.\u003c/p>\n\u003cp>If you want to avoid congestion caused by all the changes to Muni service, your best bet would be to take BART to either 16th or 24th Mission BART stations.\u003c/p>\n\u003cp>Prepare for your trip on BART \u003ca href=\"https://www.bart.gov/planner\">using the agency’s online planning tool\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Mission District’s biggest party is almost here. Where to park, how to watch the parade, who’s headlining and what family activities are available.\r\n",
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"title": "Carnaval San Francisco 2026: From Parade Route to Parking, What to Know This Weekend | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend, \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> will take over the streets of San Francisco’s Mission District, bringing a flurry of colors, feathers and sequins — moving to the beats of samba, regional mexicano and reggaeton.\u003c/p>\n\u003cp>This community celebration, now in its 48th year, will fall on Memorial Day weekend: Saturday, May 23 and Sunday, May 24.\u003c/p>\n\u003cp>With \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">a two-day festival\u003c/a> featuring headliner Mi Banda el Mexicano de Casimiro on Saturday and the \u003ca href=\"https://carnavalsanfrancisco.org/parade/\">Grand Parade\u003c/a> on Sunday, made up of over 70 different contingents, Carnaval is one of San Francisco’s most emblematic celebrations – and it’s all completely free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jump straight to:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">What time does Carnaval San Francisco start on Memorial Day weekend?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#MAPWherecanIwatchtheCarnavalSanFranciscoparade\">MAP: Where can I watch the Carnaval San Francisco parade?\u003c/a>\u003c/strong>\u003c/li>\n\u003cli>\u003cstrong>\u003ca href=\"#WherecanIfindparkingatCarnavalSanFrancisco\">Where can I find parking at Carnaval San Francisco?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Never seen the Grand Parade before? Picture Mission Street not full of the usual commuter traffic and Muni buses — but instead brimming with beautifully decorated floats accompanied by thousands of dancers and musicians representing the many cultures of Latin America and the Caribbean.\u003c/p>\n\u003cfigure id=\"attachment_11987833\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987833\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg\" alt=\"A woman dressed in a colorful costume walks during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-08-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A performer in the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And that’s just Sunday. With over 3,000 dancers, musicians and artists sharing their work throughout the entire weekend, it’s hard to run out of things to do at Carnaval.\u003c/p>\n\u003cp>Keep reading for all the information you need to make the most of Carnaval 2026 this weekend.\u003c/p>\n\u003ch2>Carnaval 2026: Bringing soccer back to the people\u003c/h2>\n\u003cp>Back in 1979, Carnaval was first held in SF’s Precita Park as part of an effort by artists and organizers to pay homage to the historic Carnaval celebrations across Latin America and the Caribbean — while giving a platform for local musicians and dancers to come together and pass on their traditions.\u003c/p>\n\u003cp>Decades later, this community celebration has now grown to include over twenty blocks of the Mission District, making it one of the biggest celebrations of its kind on the West Coast.\u003c/p>\n\u003cfigure id=\"attachment_12044957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12044957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2025/06/SJEarthquakesGetty-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nick Lima #24 of San José Earthquakes with the ball tackled by Jayden Reid #99 of St. Louis City SC during the second half of an MLS game between St. Louis City SC and San José Earthquakes at Energizer Park on May 31, 2025, in St Louis, Missouri. \u003ccite>(Bill Barrett/ISI Photos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, Carnaval is embracing soccer as its theme, Executive Director Rodrigo Durán said. “Soccer is deeply ingrained in Latin American culture,” he said. “This is the people we serve. These are the people that we dance with. The World Cup coming to the Bay really meant a lot for the many people involved in Carnaval.”\u003c/p>\n\u003cp>As the Bay Area prepares to host \u003ca href=\"https://www.kqed.org/news/12083101/world-cup-2026-bay-area-games-where-is-fifa-world-cup-santa-clara-levis-stadium-tickets-fan-zone-watch-parties\">six World Cup games this summer\u003c/a>, Durán said that community events like Carnaval help keep soccer accessible to all. “You don’t need an expensive ticket to come to Carnaval, because it’s 100% free,” he said, adding that event organizers have partnered up with \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local teams\u003c/a> like Bay FC, the Oakland Roots and San Francisco City FC to host scrimmages, giveaways and soccer workshops all weekend long.\u003c/p>\n\u003cp>“Come play soccer, come see wonderful players, or reconnect yourself with that wonderful game of soccer,” he said. “We want this to be the cup of the people — la copa del pueblo.”\u003c/p>\n\u003ch2>\u003ca id=\"WhattimedoesCarnavalSanFranciscostartonMemorialDayweekend\">\u003c/a>Where is Carnaval San Francisco, and what’s the schedule?\u003c/h2>\n\u003cp>Carnaval has two main components: the festival and Sunday’s Grand Parade.\u003c/p>\n\u003cp>The festival happens on Saturday and Sunday: on both days, gates open at 11 a.m. and festivities wrap up by 6 p.m.\u003c/p>\n\u003cp>The festival will take place on Harrison Street, from 16th to 24th streets. Hundreds of artisans and food vendors fill up this space, with DJs playing at block parties on 18th, 20th and 21st streets.\u003c/p>\n\u003cfigure id=\"attachment_11987825\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987825\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg\" alt=\"A man and woman dance in white clothing and colorful dresses in the street.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-18-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the group Mi Tierra Colombiana practice before the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Four stages will be set up throughout Harrison Street, featuring performances from headliner Mi Banda el Mexicano de Casimiro.\u003c/p>\n\u003cp>Led by Casimiro Zamudio, the band — whose signature sound blends traditional banda percussion with elements of electronic music — became a household name for many families in the 90s with hits like “Feliz Feliz,” “La Bota” and “No Bailes de Caballito.” If you’ve been to a quinceañera and this band comes on, that means you \u003cem>got \u003c/em>to go dance.\u003c/p>\n\u003cp>Dozens of other live performances are scheduled throughout the neighborhood on both days, including a tribute to the \u003ca href=\"https://www.kqed.org/arts/13986089/dr-loco-dies-jose-cuellar-chicano-scholar-bandleader-san-francisco\">late Bay Area rock icon and academic\u003c/a> José Cuéllar, also known as Dr. Loco: saxophonist, accordionist and vocalist of Dr. Loco’s Rockin’ Jalapeño Band. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">Check out the full Carnaval 2026 festival lineup.\u003c/a>\u003c/p>\n\u003cp>Perhaps the biggest addition to this year’s festival is the area entirely dedicated to soccer on Harrison between 19th and 20th streets, where \u003ca href=\"https://www.kqed.org/news/12076503/mens-world-cup-soccer-san-francisco-bay-area-tickets-matches-santa-clara-levis-stadium\">local soccer teams\u003c/a> will host scrimmages and giveaways throughout the weekend.\u003c/p>\n\u003cp>You can even \u003ca href=\"https://carnavalsanfrancisco.org/festival/#soccer-arena\">sign up ahead of time\u003c/a> to request a specific time for you and your team to play (3 vs. 3 and 5 vs. 5 options available). La Plaza del Fútbol — as organizers have named the space — is open to all genders and skill levels.\u003c/p>\n\u003cp>Throughout the weekend, \u003ca href=\"https://carnavalsanfrancisco.org/festival/\">there will also be four different block parties\u003c/a>, each with live DJs hitting different musical styles.\u003c/p>\n\u003cp>One of those block parties — Colores de Amor on 19th and Harrison streets — will feature drag performances on Sunday by \u003ca href=\"https://www.instagram.com/per_sia/\">Per Sia\u003c/a> and \u003ca href=\"https://www.instagram.com/sweetestmilksf/\">Dulce De Leche\u003c/a>, along with DJ sets from \u003ca href=\"https://www.instagram.com/djbrownangel/\">Brown Angel\u003c/a>.\u003c/p>\n\u003ch2>Where are the entrances to the Carnaval 2026 festival?\u003c/h2>\n\u003cp>You’ll find free entrances (and exits) on every street from 16th to 24th streets, located at:\u003c/p>\n\u003cul>\n\u003cli>16th and Harrison\u003c/li>\n\u003cli>17th and Alabama\u003c/li>\n\u003cli>18th and Folsom\u003c/li>\n\u003cli>19th and Alabama\u003c/li>\n\u003cli>20th and Folsom\u003c/li>\n\u003cli>20th and Alabama\u003c/li>\n\u003cli>21st and Folsom\u003c/li>\n\u003cli>23rd and Folsom\u003c/li>\n\u003cli>23rd and Alabama\u003c/li>\n\u003cli>24th and Harrison.\u003c/li>\n\u003c/ul>\n\u003cp>Visitors cannot bring \u003ca href=\"https://carnavalsanfrancisco.org/faq/#festival\">outside alcoholic beverages\u003c/a> into the festival space. Alcohol is available for purchase inside the festival, but only in specific enclosed areas requiring visitors to provide identification for access. Pets are also not permitted in the festival space — except if they’re service animals.\u003c/p>\n\u003cp>Remember: Security staff will be present at each entrance to check bags.\u003c/p>\n\u003ch2>\u003ca id=\"MAPWherecanIwatchtheCarnavalSanFranciscoparade\">\u003c/a>When does the Carnaval Grand Parade start, and what’s the parade route?\u003c/h2>\n\u003cp>The Carnaval Grand Parade takes place on Sunday. Starting at 10 a.m., the parade features dozens of floats and hundreds of dancers moving through the entire neighborhood.\u003c/p>\n\u003cp>The Carnaval parade route begins at Bryant and 24th streets, then moves through 24th Street, takes a right on Mission Street, stays on that street all the way to 15th Street, and wraps up at Harrison and 15th streets.\u003c/p>\n\u003cp>The dancers and musicians in the parade perform nonstop the whole way, which is a particularly impressive feat when you consider that some of the most elaborate outfits can weigh up to 40 pounds.\u003c/p>\n\u003cp>On top of that, there’s a contest element — as contingents, or comparsas, compete against each other in multiple categories. Judges will rank each comparsa on originality, choreography and production design.\u003c/p>\n\u003cfigure id=\"attachment_12083325\" class=\"wp-caption alignleft\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083325\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg\" alt=\"\" width=\"547\" height=\"708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/ParadeMap_2026-1-160x207.jpg 160w\" sizes=\"auto, (max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">The Grand Parade and festival map for the 2026 Carnaval San Francisco \u003ccite>(Carnaval San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you can’t make it exactly at the 10 a.m. parade start time, don’t worry: The parade goes on for hours before finally wrapping up at 2 p.m.\u003c/p>\n\u003cp>Can’t make it in person at all? \u003ca href=\"https://www.cbsnews.com/sanfrancisco/live/\">KPIX will be streaming the parade online.\u003c/a>\u003c/p>\n\u003ch2>A few things to look for at the Carnaval San Francisco Grand Parade\u003c/h2>\n\u003cp>What makes San Francisco’s Carnaval distinct from other Carnaval celebrations you may see in Rio de Janeiro or Barranquilla is that it embraces the multiple traditions and histories of California’s Latin American and Caribbean diasporas.\u003c/p>\n\u003cp>One tradition that San Francisco has carried on for decades: a few weeks before Carnaval weekend, community members choose a new King and Queen of Carnaval. This year, Chris Cornelious and Mizzy Ng will wear the crowns during the parade.\u003c/p>\n\u003cp>The 70 different comparsas that make up this year’s parade include long-standing groups like Flavaz of D’ Caribbean, who’ve won multiple Carnaval categories year after year with high-energy choreography representing the music of Trinidad and Tobago.\u003c/p>\n\u003cp>You can also spot the contingent from Tradición Peruana Cultural Center — one of the oldest community-led groups nationwide dedicated to Peruvian culture, which, despite losing its San Francisco home \u003ca href=\"https://missionlocal.org/2026/01/sf-peruvian-cultural-center-closes/\">earlier this year\u003c/a>, has continued to work with public schools to promote Peruvian dance and drumming.\u003c/p>\n\u003cp>And while you dance to the music, make sure to pay close attention to what the performers are wearing. Many comparsas start preparing their parade outfits months in advance.\u003c/p>\n\u003cp>For example, dancers with Carnaval Putleco, a comparsa which \u003ca href=\"https://www.kqed.org/news/11987673/carnaval-putleco-brings-a-oaxacan-festival-of-colors-to-the-bay-area\">honors the culture of Putla, Oaxaca,\u003c/a> by dancing with tiliches: incredibly colorful and elaborate full-body suits made by hand with hundreds of ribbons, shells and beads.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/parade/\">See the full list of participating comparsas at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>If the Carnaval San Francisco Grand Parade is free, can I just show up?\u003c/h2>\n\u003cp>Yes: no tickets or registration are required for the Carnaval parade — or the festival itself. Just show up anywhere along the parade route and enjoy the show.\u003c/p>\n\u003cp>However, if you want a unique vantage point, \u003ca href=\"https://givebutter.com/2026GrandstandSeating\">you can purchase special Grand Stand seats for the Carnaval parade\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11987820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-22-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amando Herrera Villa wears a tiliche handmade by his wife, Martha Cortés Rojas, with beads and ayoyote shells, during the Carnaval Grand Parade in San Francisco’s Mission District. Herrera Villa is part of the Oaxacan group Carnaval Putleco. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These elevated bleachers, located along Mission Street between 22nd and 23rd streets, are next to the judges’ tables, where each contingent will pause and perform for an extra amount of time. Keep in mind that Grand Stand tickets will only be available before the parade and will not be sold day of.\u003c/p>\n\u003cp>There are no truly bad spots from which to watch the parade, but if you post up at 24th Street, you’ll be much closer to the performers — albeit a bit more cramped with foot traffic. If you’re on Mission Street, you’ll definitely have a lot more room to move around.\u003c/p>\n\u003ch2>Who’s headlining this year at Carnaval San Francisco?\u003c/h2>\n\u003cp>Over 50 musicians, DJs and dance groups will perform throughout the weekend across the four stages and five block parties located throughout Harrison Street.\u003c/p>\n\u003cp>This year’s headliner is Mi Banda el Mexicano de Casimiro — and getting the band to Carnaval is a dream come true, Durán said. When organizers made the announcement last month on social media, hundreds of fans quickly posted how excited they were about the group coming to the festival.\u003c/p>\n\u003cp>Even if you don’t know the group’s music just yet, stick around and watch how fans dance. Many of Banda El Mexicano’s greatest hits helped the \u003ca href=\"https://www.dazeddigital.com/art-photography/article/61840/1/quebradita-los-angeles-subculture-vaquero-cowboy-dance-james-pearson-howes-photo\">quebradita genre\u003c/a> of Mexican regional music reach wider audiences on both sides of the border throughout the 90s. And since dancing quebradita is an acrobatic feat, expect high kicks, flips in the air and backbends from within the crowd — all in one song.\u003c/p>\n\u003cp>\u003ca href=\"https://carnavalsanfrancisco.org/festival/\">See the full list of performers at Carnaval San Francisco.\u003c/a>\u003c/p>\n\u003ch2>Is Carnaval San Francisco family-friendly?\u003c/h2>\n\u003cp>Yes: For many Bay Area families, going to Carnaval with the kids, teens and grandparents is a decades-long tradition.\u003c/p>\n\u003cp>In the festival space, organizers have set up a Kids Zone at Harrison and 18th Street where families can paint, dance and play drums. Families are also welcome to join the different activities scheduled at La Plaza del Fútbol.\u003c/p>\n\u003cfigure id=\"attachment_11987821\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987821\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg\" alt=\"Several people dressed in decorative attire walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-23-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Groups from Oaxaca dance on Mission Street during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’ll also find an area set up for skateboarding on 23rd and Harrison, next to a health and wellness pavilion offering testing for both COVID-19 and blood pressure.\u003c/p>\n\u003cp>Event staff will be present at several points throughout the festival, including an information booth on 19th and Harrison.\u003c/p>\n\u003ch2>\u003ca id=\"WherecanIfindparkingatCarnavalSanFrancisco\">\u003c/a>How do I get to Carnaval San Francisco? What about parking?\u003c/h2>\n\u003cp>If you’re planning to drive into the Mission during Carnaval weekend, it’s not going to be easy.\u003c/p>\n\u003cp>The areas surrounding Harrison Street, from 16th to 24th streets, will be closed off to cars the whole weekend, which means a huge amount of the neighborhood’s parking spots will be off-limits. Even residents will have to move their cars to make way for the festival, so there’ll be a lot of competition for the few remaining spots left.\u003c/p>\n\u003cp>“Driving in is not the best idea,” said Durán, who recommends that attendees instead use public transit to get to the celebrations.\u003c/p>\n\u003cfigure id=\"attachment_11987822\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987822\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg\" alt=\"Several people dance on the sidewalk during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-26-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spectators dance during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if you do need to drive, he suggested looking for a spot to the west of Harrison Street (past Valencia Street) as the streets on the eastern half of the Mission District will see the most competition for parking.\u003c/p>\n\u003cp>On Sunday, all cars parked along the Grand Parade route will have to move, including Mission Street from 24th Street to 15th Street, chunks of 24th and 15th streets as well, and sections of Bryant Street.\u003c/p>\n\u003cp>If you live on any of the streets that’ll be taken over by Carnaval this weekend and need to move your car in or out of your garage, look for a Carnaval staff member so they can escort your vehicle through the emergency access lanes.\u003c/p>\n\u003ch2>Taking public transit to Carnaval San Francisco\u003c/h2>\n\u003cp>BART will continue operating with a weekday schedule at both 16th and 24th Mission stations.\u003c/p>\n\u003cp>On Saturday, you can ride the 22, 33, 55 and 48 Muni bus routes, which will pass near the festival entrances, and the 9, 12, 14, 14R and 49 bus lines can drop you off a few blocks away. Prepare for your trip on Muni \u003ca href=\"https://www.sfmta.com/trip-planner\">using SFMTA’s online planning tool\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911716\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11911716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/04/RS42256_030_KQED_SanFrancisco_Mission_03202020_9678-qut-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A bank of BART turnstiles at 24th Street Station. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFMTA officials confirmed with KQED that the complete list of Muni service affected by the festival and parade will be available a few days ahead of Carnaval.\u003c/p>\n\u003cp>If you want to avoid congestion caused by all the changes to Muni service, your best bet would be to take BART to either 16th or 24th Mission BART stations.\u003c/p>\n\u003cp>Prepare for your trip on BART \u003ca href=\"https://www.bart.gov/planner\">using the agency’s online planning tool\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "carnaval-san-francisco-turns-music-memory-and-resistance-into-celebration",
"title": "Carnaval San Francisco Turns Music, Memory and Resistance Into Celebration",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Fabian Ramirez remembers going to \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> while growing up in the Mission District. He watched musicians perform throughout the festival and wanted to be just like them.\u003c/p>\n\u003cp>Ramirez is now the lead singer of Grupo 415, a regional Mexican music quartet that is among the 60 musical artists performing this year at Carnaval.\u003c/p>\n\u003cp>“Being from San Francisco, being from the Mission, performing at Carnaval means a lot,” the 19-year-old told me. “It’s an honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Personal connections like Ramirez’s illustrate why Carnaval embodies the Bay Area. The concept originated in Latin America, but it has taken on distinctly San Franciscan attributes by showcasing local talent and highlighting the many countries of origin that make up the region’s Latine community, all while building on a global tradition.\u003c/p>\n\u003cp>That ethos is even more relevant this year as the federal government has targeted and terrorized immigrant communities.\u003c/p>\n\u003cp>“We’ve been through economic upturns and downturns, gentrification, the pandemic. We’ve gone through these types of anti-immigration policies in the ‘90s in California,” said Rodrigo Durán, executive director of Carnaval San Francisco. “Carnaval was always there, and we’ll still be there to support, to provide a space where people feel protected. And so we’re ready.”\u003c/p>\n\u003cfigure id=\"attachment_12083187\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco dancers perform during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval draws about 500,000 people to the Mission each Memorial Day weekend for two days of music, food and arts. The festival, slated for 11 a.m.-6 p.m. May 23-24, will take over 17 city blocks and include a parade, five stages, a kid zone, 300 exhibitors and vendors, and a soccer pavilion to celebrate this year’s theme, “La Copa del Pueblo — The People’s Cup” in alignment with the upcoming World Cup.[aside postID=news_12072776 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-10-JL-012526-KQED.jpg']The festival, now in its 48th year, is a celebration of Latino culture and immigrants who have infused the Bay Area with rich traditions, food and music. It’s the third-largest annual festival in San Francisco, following Pride and Lunar New Year.\u003c/p>\n\u003cp>This year’s headliner is Su Majestad Mi Banda El Mexicano de Casimiro, a group that popularized the “electrobanda” style of music in the 1990s.\u003c/p>\n\u003cp>“Selfishly, I’m reliving my childhood memories,” Durán said. “And then there’s this new generation that’s tapping into this vintage music and enjoying that rhythm that’s so energetic and that’s nostalgic at the same time.”\u003c/p>\n\u003cp>Mi Banda El Mexicano’s music blended various genres into danceable party bangers that I grew up listening to and still hit hard today. Songs include \u003cem>La Bota\u003c/em> (\u003cem>The Boot\u003c/em>), \u003cem>Feliz, Feliz\u003c/em> (\u003cem>Happy, Happy\u003c/em>) and \u003cem>Mambo Lupita\u003c/em>.\u003c/p>\n\u003cp>They were avant-garde for challenging social norms of the time and unapologetically pushing risqué dance styles such as “quebradita” and “caballito.” Their biggest hit is \u003cem>No Bailes de Caballito\u003c/em> (\u003cem>Don’t Dance to Caballito\u003c/em>), which includes the lyrics: “The king commands and orders you to dance the caballito — even if your mom gets mad!”\u003c/p>\n\u003cp>Banda El Mexicano “will give us a sense of liberty, a sense of freedom to breathe, to reflect, to enjoy, to have joy in a moment when we’re feeling so distressed and so antagonized,” Durán said.\u003c/p>\n\u003cfigure id=\"attachment_11987826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg\" alt=\"Two women dressed in decorative attire for a parade look at each other outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alma Mejia (left) and Sandra Sandoval, from the group Xiuhcoatl Danza Azteca, talk before the 2024 Carnaval Grand Parade in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval’s roots stretch deep into Latin America and Europe. The idea was to throw a big party and use up excess food and energy before Lent, a religious season promoting fasting and spiritual growth preceding Easter.\u003c/p>\n\u003cp>“In the 1970s, people found themselves realizing that there is this wealth of cultures that share similarities, but that have these distinct ways of expressing their traditions and their cultures,” Durán said.\u003c/p>\n\u003cp>Lent usually starts in February or March, which can be rainy in San Francisco, so early festival organizers decided Memorial Day weekend would be a better time of year, Durán said.[aside postID=news_12062734 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2025/11/231029_OAKDiadelosMuertosFestival_EG-38.jpg']Jose Carrasco, founder of San Francisco dance and arts organization Loco Bloco, started attending Carnaval as a spectator in the 1980s and organized his first parade performance in 1994. The festival brings back memories from his childhood growing up in Louisiana.\u003c/p>\n\u003cp>“My parents would take me and my siblings to the Mardi Gras parades in New Orleans,” he said. “Those were really astounding, especially as a child, to see these giant floats and the music that was playing and all the beads being thrown and the colors and the costumes. It left a lasting impression.”\u003c/p>\n\u003cp>For this year’s Carnaval, Loco Bloco has assembled about 150 dancers and performers, including a 12-piece band, 50 drummers and an elaborate float that will snake through 20 blocks in San Francisco’s Mission District.\u003c/p>\n\u003cp>Planning for the parade starts almost as soon as the previous parade ends. It takes several months to craft a theme, choreography and music followed by rehearsals.\u003c/p>\n\u003cp>Carnaval is about “expressing art and expressing joy and bringing community together and bringing together a lot of people, who aren’t necessarily professional artists or musicians or dancers,” Carrasco said. “It’s a community ritual in which everyone can participate or watch.”\u003c/p>\n\u003cfigure id=\"attachment_11987839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987839\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg\" alt=\"Several women dressed in colorful clothing dance and walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cathedral City High School Ballet Folklórico performs during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loco Bloco’s parade theme this year is “Uprising,” drawing inspiration from the native people of Hawaii and volcanoes, Carrasco said.\u003c/p>\n\u003cp>“Uprising also represents what volcanoes do, and the magma exploding and the magma flowing underground is the lifeblood of the planet,” he said. “We’re trying to provide a vehicle to let the steam off as if it’s magma, the heat, the boiling blood. We’re going to channel it and feel joy and move in the street and feel our power, and say something super important while we’re moving our bodies and our hips, legs, hands and our butts.”\u003c/p>\n\u003cp>For Carrasco, the broader purpose of Carnaval is to preserve cultural identity, fight erasure and empower the community, especially young people.\u003c/p>\n\u003cp>That is certainly the case for Ramirez of Grupo 415, who started playing music at age 7. He connected with his bandmates via social media after the pandemic, when posting about music served as an outlet.\u003c/p>\n\u003cp>The group, which plans to release its first album this summer, is performing at Carnaval for the second time this year.\u003c/p>\n\u003cp>“That was a dream for me: to perform at Carnaval, and then I thought, how am I going to get there?” Ramirez said. “I was like, ‘You know what? Let me reach out to Carnaval and see who I could get in touch with to make this happen,’ because that was always a goal for me and the band to get to perform on a big stage, especially for Carnaval.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Carnaval San Francisco returns to the Mission District this Memorial Day weekend with live music, dance, food, a massive parade and celebrations of Latino culture, immigrant communities and Bay Area tradition.",
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"title": "Carnaval San Francisco Turns Music, Memory and Resistance Into Celebration | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Fabian Ramirez remembers going to \u003ca href=\"https://www.kqed.org/news/tag/carnaval\">Carnaval San Francisco\u003c/a> while growing up in the Mission District. He watched musicians perform throughout the festival and wanted to be just like them.\u003c/p>\n\u003cp>Ramirez is now the lead singer of Grupo 415, a regional Mexican music quartet that is among the 60 musical artists performing this year at Carnaval.\u003c/p>\n\u003cp>“Being from San Francisco, being from the Mission, performing at Carnaval means a lot,” the 19-year-old told me. “It’s an honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Personal connections like Ramirez’s illustrate why Carnaval embodies the Bay Area. The concept originated in Latin America, but it has taken on distinctly San Franciscan attributes by showcasing local talent and highlighting the many countries of origin that make up the region’s Latine community, all while building on a global tradition.\u003c/p>\n\u003cp>That ethos is even more relevant this year as the federal government has targeted and terrorized immigrant communities.\u003c/p>\n\u003cp>“We’ve been through economic upturns and downturns, gentrification, the pandemic. We’ve gone through these types of anti-immigration policies in the ‘90s in California,” said Rodrigo Durán, executive director of Carnaval San Francisco. “Carnaval was always there, and we’ll still be there to support, to provide a space where people feel protected. And so we’re ready.”\u003c/p>\n\u003cfigure id=\"attachment_12083187\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12083187\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/05/240526-Carnaval-090-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Loco Bloco dancers perform during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval draws about 500,000 people to the Mission each Memorial Day weekend for two days of music, food and arts. The festival, slated for 11 a.m.-6 p.m. May 23-24, will take over 17 city blocks and include a parade, five stages, a kid zone, 300 exhibitors and vendors, and a soccer pavilion to celebrate this year’s theme, “La Copa del Pueblo — The People’s Cup” in alignment with the upcoming World Cup.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The festival, now in its 48th year, is a celebration of Latino culture and immigrants who have infused the Bay Area with rich traditions, food and music. It’s the third-largest annual festival in San Francisco, following Pride and Lunar New Year.\u003c/p>\n\u003cp>This year’s headliner is Su Majestad Mi Banda El Mexicano de Casimiro, a group that popularized the “electrobanda” style of music in the 1990s.\u003c/p>\n\u003cp>“Selfishly, I’m reliving my childhood memories,” Durán said. “And then there’s this new generation that’s tapping into this vintage music and enjoying that rhythm that’s so energetic and that’s nostalgic at the same time.”\u003c/p>\n\u003cp>Mi Banda El Mexicano’s music blended various genres into danceable party bangers that I grew up listening to and still hit hard today. Songs include \u003cem>La Bota\u003c/em> (\u003cem>The Boot\u003c/em>), \u003cem>Feliz, Feliz\u003c/em> (\u003cem>Happy, Happy\u003c/em>) and \u003cem>Mambo Lupita\u003c/em>.\u003c/p>\n\u003cp>They were avant-garde for challenging social norms of the time and unapologetically pushing risqué dance styles such as “quebradita” and “caballito.” Their biggest hit is \u003cem>No Bailes de Caballito\u003c/em> (\u003cem>Don’t Dance to Caballito\u003c/em>), which includes the lyrics: “The king commands and orders you to dance the caballito — even if your mom gets mad!”\u003c/p>\n\u003cp>Banda El Mexicano “will give us a sense of liberty, a sense of freedom to breathe, to reflect, to enjoy, to have joy in a moment when we’re feeling so distressed and so antagonized,” Durán said.\u003c/p>\n\u003cfigure id=\"attachment_11987826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg\" alt=\"Two women dressed in decorative attire for a parade look at each other outside.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-02-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Alma Mejia (left) and Sandra Sandoval, from the group Xiuhcoatl Danza Azteca, talk before the 2024 Carnaval Grand Parade in San Francisco’s Mission District. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carnaval’s roots stretch deep into Latin America and Europe. The idea was to throw a big party and use up excess food and energy before Lent, a religious season promoting fasting and spiritual growth preceding Easter.\u003c/p>\n\u003cp>“In the 1970s, people found themselves realizing that there is this wealth of cultures that share similarities, but that have these distinct ways of expressing their traditions and their cultures,” Durán said.\u003c/p>\n\u003cp>Lent usually starts in February or March, which can be rainy in San Francisco, so early festival organizers decided Memorial Day weekend would be a better time of year, Durán said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jose Carrasco, founder of San Francisco dance and arts organization Loco Bloco, started attending Carnaval as a spectator in the 1980s and organized his first parade performance in 1994. The festival brings back memories from his childhood growing up in Louisiana.\u003c/p>\n\u003cp>“My parents would take me and my siblings to the Mardi Gras parades in New Orleans,” he said. “Those were really astounding, especially as a child, to see these giant floats and the music that was playing and all the beads being thrown and the colors and the costumes. It left a lasting impression.”\u003c/p>\n\u003cp>For this year’s Carnaval, Loco Bloco has assembled about 150 dancers and performers, including a 12-piece band, 50 drummers and an elaborate float that will snake through 20 blocks in San Francisco’s Mission District.\u003c/p>\n\u003cp>Planning for the parade starts almost as soon as the previous parade ends. It takes several months to craft a theme, choreography and music followed by rehearsals.\u003c/p>\n\u003cp>Carnaval is about “expressing art and expressing joy and bringing community together and bringing together a lot of people, who aren’t necessarily professional artists or musicians or dancers,” Carrasco said. “It’s a community ritual in which everyone can participate or watch.”\u003c/p>\n\u003cfigure id=\"attachment_11987839\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11987839\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg\" alt=\"Several women dressed in colorful clothing dance and walk down the street during a parade.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/05/240526-CarnavalParade-33-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cathedral City High School Ballet Folklórico performs during the Carnaval Grand Parade in San Francisco’s Mission District on May 26, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Loco Bloco’s parade theme this year is “Uprising,” drawing inspiration from the native people of Hawaii and volcanoes, Carrasco said.\u003c/p>\n\u003cp>“Uprising also represents what volcanoes do, and the magma exploding and the magma flowing underground is the lifeblood of the planet,” he said. “We’re trying to provide a vehicle to let the steam off as if it’s magma, the heat, the boiling blood. We’re going to channel it and feel joy and move in the street and feel our power, and say something super important while we’re moving our bodies and our hips, legs, hands and our butts.”\u003c/p>\n\u003cp>For Carrasco, the broader purpose of Carnaval is to preserve cultural identity, fight erasure and empower the community, especially young people.\u003c/p>\n\u003cp>That is certainly the case for Ramirez of Grupo 415, who started playing music at age 7. He connected with his bandmates via social media after the pandemic, when posting about music served as an outlet.\u003c/p>\n\u003cp>The group, which plans to release its first album this summer, is performing at Carnaval for the second time this year.\u003c/p>\n\u003cp>“That was a dream for me: to perform at Carnaval, and then I thought, how am I going to get there?” Ramirez said. “I was like, ‘You know what? Let me reach out to Carnaval and see who I could get in touch with to make this happen,’ because that was always a goal for me and the band to get to perform on a big stage, especially for Carnaval.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’",
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"headTitle": "La Doña Traveled to 5 Countries to Make Her Borderless Album, ‘Corrientes’ | KQED",
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"content": "\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\n\u003cp>https://youtu.be/93ZK9i1wh5k?si=CcW-XD74gTUCrXqu\u003c/p>\n\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\n\u003cp>https://youtu.be/3F5Jncvig3Y?si=AVUoLZOivTchyz0V\u003c/p>\n\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\n\u003cp>https://youtu.be/fokeuzQS4Ac?si=dQD1kudLICbeW7FV\u003c/p>\n\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\n\u003cp>https://youtu.be/y2a-_w4xRPU?si=1Y99SXRdE_WyMCZU\u003c/p>\n\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13988957\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_004-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, known as La Doña, poses on the hood of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>One of the songs on \u003ca href=\"https://www.kqed.org/arts/tag/la-dona\">La Doña\u003c/a>‘s new album, \u003cem>Corrientes\u003c/em>, tells the story of her parents’ 44-year-long partnership that started with a chance meeting when her dad was an undergraduate at UC Berkeley and her mom was a law student there.\u003c/p>\n\u003cp>That night, \u003ca href=\"https://www.instagram.com/ladona415/\">La Doña\u003c/a>‘s mom pulled a fiddle out of her car and played a song she called the “Jessie Polka,” a rendition of “Jesusita en Chihuahua,” a beloved folk song composed during the Mexican Revolution.\u003c/p>\n\u003cp>“From that moment on, they had this cultural exchange and this language that they shared,” says La Doña, whose real name is Cecilia Peña-Govea. “They were learning about each other and learning about their own roots and practices.”\u003c/p>\n\u003cp>Her song, “La Que Nos Unió” (“The One that United Us”) is set to an uptempo merengue beat, which, like polka, rouses listeners to get up and dance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The song] is a celebration of their love and the legacy that I’m walking in and the beauty of the musical traditions that they endowed me with,” the 33-year-old says. “I wanted it to be a party song because they’re fun and they’re party animals.”\u003c/p>\n\u003cp>La Doña’s ethos of paying homage to tradition and history while bringing her own style reverberates throughout the 16 songs on \u003cem>Corrientes\u003c/em>, which comes out April 29. This is the second full-length record for the born-and-raised San Franciscan, who started releasing music in 2018.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> is La Doña’s most ambitious and comprehensive project yet. She incorporates many genres, including some that are tried-and-true for her: cumbia, reggaeton, ranchera, bolero and salsa. She also branches out further into bachata, merengue, electronic dance music and son jarocho, a folk music style that originated in the Mexican state of Veracruz.\u003c/p>\n\u003cp>\u003cem>Corrientes\u003c/em> shows off La Doña’s deep understanding of music while showcasing her brilliance, versatility and expansive range as a singer and songwriter. The album feels like a multinational tour of Latin America with a passionate guide at the helm; while working on the album, she traveled to five countries and collaborated with 40 musicians. Her sultry vocals fit seamlessly, whether she’s singing in English, Spanish or both.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/93ZK9i1wh5k'\n title='//www.youtube.com/embed/93ZK9i1wh5k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the cheeky, “Frisco Hates You Too,” collaborators Jada Imani, Stoni and Qing Qi join La Doña for a delicious clap-back banger that takes aim at outsiders who try to force their aesthetics and preferences on Bay Area culture.\u003c/p>\n\u003cp>“If you were born and raised in San Francisco, you’ve always felt this impending doom, right? If gentrification doesn’t get me, then the earthquake’s going to get me. You always feel like something is going to remove you from your city or your space,” she says. “So ‘Frisco Hates You Too’ is related to a quote that Jimmy Fails says in [the movie] \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>, which is, ‘You can’t hate it unless you love it.’”\u003c/p>\n\u003cp>On the bolero, “Consiénteme,” (“Pamper Me”) she sings poetic stanzas in Spanish about passionate love and then switches to English for a spoken word plea for clarity about the relationship: “Dear redacted, did you mean it when you said you wanted to be my baby daddy?”\u003c/p>\n\u003cp>As an independent artist, La Doña takes risks both in music and activism. Her support of Palestinian people amid the war in Gaza has drawn backlash and cost her opportunities, she says, but silence for her is not an option.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3F5Jncvig3Y'\n title='//www.youtube.com/embed/3F5Jncvig3Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the song, “Mentira y La Verdad,” (“Lies and Truth”) La Doña sings about how people have tried to pressure her to stop speaking out, but she refuses to back down.\u003c/p>\n\u003cp>“They come to my concerts. At night, they write to me always criticizing and demanding apologies, but my song today will sound louder tomorrow,” she sings in Spanish.\u003c/p>\n\u003cp>La Doña has a couple of Northern California performances planned, including a \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">release show on May 15 at Berkeley’s UC Theatre\u003c/a>, but has not yet set up a tour. She’s at a crossroads as she decides between different graduate school options for this fall.\u003c/p>\n\u003cp>La Doña sat down with KQED to talk about her artistry, her aesthetics and what might come next for her future.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13988958\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_008-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña poses in the inside of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blanca Torres:\u003c/strong> On this album, you have some salsa, you have some reggaeton, you have some banda and then the son jarocho. Is any of that new that you’re trying out, or is it all stuff that you’ve been working on for a while?\u003c/p>\n\u003cp>\u003cstrong>La Doña:\u003c/strong> I have been playing salsa since I was a very young girl, especially playing the trumpet. I also grew up listening to and playing a lot of corridos, rancheras, so that also feels very natural for me. Especially bolero, mambo, salsa, how these genres of music are moving freely between countries and across borders has informed so much of my writing and so much of my understanding, both of self and of genres and music in general. Was a stretch production-wise just because, yeah, there’s like 20 different styles on this album, right? Just the nature of getting together 40 musicians who all are masters in their craft. It was a huge undertaking.\u003c/p>\n\u003cp>\u003cstrong>How do you decide if you want a song in Spanish or in English or both? What’s kind of your creative process since you can access so many styles of music?\u003c/strong>\u003c/p>\n\u003cp>Conversationally, I’m more comfortable in English. Musically, I’m more comfortable in Spanish. When I’m writing lyrics or when the song is really led by a story or narrative, I begin composing in Spanish. Whereas if the material is more conversational, then I tend to lean towards English.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fokeuzQS4Ac'\n title='//www.youtube.com/embed/fokeuzQS4Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Can you talk about taking very traditional styles and bringing in modern elements? Is that something intentional that you’re doing?\u003c/strong>\u003c/p>\n\u003cp>Everything that I create, I think about how it’s going to be received and how I’m going be able to present it to people because that’s one of the most special and important parts of music — how it is shared with other people in a live setting.\u003c/p>\n\u003cp>\u003cstrong>“Por Un Amor” starts out as a sad story and then it turns at the end. Where did that inspiration come from?\u003c/strong>\u003c/p>\n\u003cp>“Por Un Amor” is actually about my breakup with my ex. As a songwriter, as a storyteller, I always get to tell my story, and I always take up space. Also, I love him very much and honor his story and his side of the struggle. I definitely see that. So I wanted to represent that as well.\u003c/p>\n\u003cp>\u003cstrong>On “Mentira y La Verdad,” you sing about how people have tried to silence you for sharing political views. Can you talk about that song and this experience that you’ve had the last few years?\u003c/strong>\u003c/p>\n\u003cp>I have a very strong moral compass, and that has made it much harder to exist within the music industry because it is such an exploitative and usurping machine. Unfortunately in this system, in this society, we’re going to be engaging with different oppressive systems and we must maintain our own truths and integrity. That’s really the only way to make it out of it alive with our souls intact.\u003c/p>\n\u003cfigure id=\"attachment_13988959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_016-Edit-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña stands for a portrait against a painted brick wall in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Some people might look at you and say, “You’re living the dream, you’re making music, you’re performing.” Is that how you see your life?\u003c/strong>\u003c/p>\n\u003cp>I never wanted to be a musician. I had been playing music since I was so little and my parents always told me, “Get a union job. Get something that will pay the bills. Get a pension. You need to be able to retire and buy a house in the Bay Area.” I had these very pragmatic goals for my life.\u003c/p>\n\u003cp>When I started making music, all of that changed. I worked really hard, but I didn’t have an end goal of being a professional musician or a lifelong artist. I have maintained it because I do love music and I do love making music and I do love performing, but in terms of, is this my final form? I don’t think so.\u003c/p>\n\u003cp>\u003cstrong>You applied to a wide variety of graduate programs and schools for fall of 2026. Have you decided?\u003c/strong>\u003c/p>\n\u003cp>No, girl, I’m freaking out. I’m really trying to figure it out. And in short, no, I don’t know where I’m going yet.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/y2a-_w4xRPU'\n title='//www.youtube.com/embed/y2a-_w4xRPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You’re clearly rooted in your identity as a Latina, as someone of Mexican descent, as someone from San Francisco. How does your look, your aesthetic relate to your artistry?\u003c/strong>\u003c/p>\n\u003cp>I’ve always looked like this. I’ve also acted like this, I’ve always sung like this. I’ve always been this person. Growing up seeing this Frisco-chola aesthetic and knowing that that’s where I feel comfortable, and that’s where I feel safe, and that is where I felt most like myself. But, also having the self-confidence to try new things and to lean into more adventurous styles and by learning how to sew and design at a young age.\u003c/p>\n\u003cp>I grew up in a household where my mom didn’t really buy me dresses. She didn’t buy me anything pink. I wasn’t allowed to have Barbies. I didn’t have dolls. I didn’t watch Disney. I didn’t watch TV. She wanted me to learn about myself outside of these Eurocentric, sexist and misogynistic views of femininity and what it meant to be a woman. I came to this iteration of myself by a lot of choice-making and a lot of research and a lot of conviction around how I want to look and how I want to present and what feels good for me.\u003c/p>\n\u003cfigure id=\"attachment_13988961\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/042406LaDona_GH_003_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">La Doña sits behind the wheel of her vintage Chevrolet Impala coupe in West Oakland on April 24, 2026. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Research and really understanding the history of music is super important to you, can you talk about that?\u003c/strong>\u003c/p>\n\u003cp>I’m already doing deep ethnographic work and auto-ethnographic work. I’m looking for different ways to talk and think about it. For me, this album was definitely about going deeper and not relying on parts of traditional music that have already been utilized or deemed acceptable or palatable by the general public, but looking at things that I am fascinated by, and that I think are important, and that might not really have as much visibility or as much space carved out within the pop canon.\u003c/p>\n\u003cp>\u003cstrong>What’s the best way for fans to support you?\u003c/strong>\u003c/p>\n\u003cp>I need you to listen to the music and I need you to expand your own experience of music, of self, of the world. Listen with an open mind, listen again, listen with a closed mind. I don’t care, just listen. And, come to the show and buy the vinyl.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>La Doña performs at her \u003ca href=\"https://www.theuctheatre.org/shows/la-dona-15-may\">album release party at the UC Theatre\u003c/a> in Berkeley on May 15, followed by another concert on \u003ca href=\"https://www.harlows.com/event/buscabulla-x-la-do%c3%b1a/harlows/sacramento-california/\">May 17 at Harlow’s in Sacramento\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "what-picking-cherries-taught-me-as-california-reconsiders-farmworker-legacy",
"title": "What Picking Cherries Taught Me as California Reconsiders Farmworker Legacy",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I think back on my childhood summers, a few activities stand out: reading lots of library books, watching \u003cem>The Price is Right\u003c/em>, and picking cherries.\u003c/p>\n\u003cp>I was about eight or nine years old the first time my dad woke my brother and me up at dawn and took us out to work in cherry orchards that surrounded my hometown in Eastern Washington.\u003c/p>\n\u003cp>I remember lying down in the backseat, trying to capture a few more minutes of sleep before we’d arrive and park among the rows and rows of trees, strap a metal bucket to our chests, and embark on a full day of filling that bucket over and over. My dad and brother, who is a year older than I am, often handled the higher branches that required using a ladder, while I excelled at the low-hanging fruit. We’d come home covered in dirt and exhausted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last month, California lawmakers \u003ca href=\"https://www.kqed.org/news/12077073/cesar-chavez-was-a-hero-to-farmworkers-now-they-confront-the-pain-of-alleged-abuse\">renamed a state holiday\u003c/a> on March 31 to Farmworkers Day after the \u003ca href=\"https://www.nytimes.com/2026/03/18/us/cesar-chavez-sexual-abuse-allegations-ufw.html\">\u003cem>New York Times\u003c/em> published allegations\u003c/a> that now-disgraced labor rights icon Cesar Chavez had abused young women.\u003c/p>\n\u003cp>The renaming happened swiftly. Lawmakers called the change “long overdue” as if we are rectifying a wrong that should have been fixed years ago. But, to me, this incident reinforces how farmworkers have been marginalized, discriminated against, and overlooked for centuries in the United States since the time enslaved people did most farm work.\u003c/p>\n\u003cfigure id=\"attachment_12077027\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12077027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/GettyImages-515109272-scaled-e1773940356467.jpg\" alt=\"\" width=\"2000\" height=\"1443\">\u003cfigcaption class=\"wp-caption-text\">Farm labor leader Cesar Chavez pickets outside the San Diego-area headquarters of Safeway markets. It was in protest over the arrest of 29 persons at a Delano, California, Safeway. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My hope would be that this holiday becomes a substantive and longstanding tradition, but I’m skeptical. We have Mother’s Day, but research shows that moms are some of the most overworked, undercompensated and stretched-thin members of society. But, hey, we love our moms!\u003c/p>\n\u003cp>The same type of hollow praise could happen to farmworkers. Farm labor is considered a category separate from all other types of jobs, hence that unartful term “nonfarm jobs” that makes up most jobs in America.\u003c/p>\n\u003cp>According to an \u003ca href=\"https://www.stlouisfed.org/open-vault/2019/july/nonfarm-payrolls-why-farmers-not-included\">explainer\u003c/a> from the Federal Reserve Bank of St. Louis, “The answer may go back to early America. Highly seasonal, farming has always had a special place in our history — and our hearts.”[aside postID=news_12077073 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/Chavez-Statue-1.jpg']Farm labor is hard to count because workers include farmers, their family members and hired workers who are often seasonal employees. Oh, and a lot of them lack proper authorization to work in the country, so that makes them harder to account for.\u003c/p>\n\u003cp>Plenty of other industries hire seasonal workers and hire undocumented workers, and yet they are counted. Instead, separating farm work from other categories makes it easier for employers to exploit workers and for consumers to build up a protective wall of ignorance. Americans might balk at buying a sweater made by a child in India, but we’re okay eating produce \u003ca href=\"https://www.kqed.org/forum/2010101912263/investigation-lax-state-oversight-endangers-californias-child-farmworkers\">picked by children in our own communities\u003c/a>.\u003c/p>\n\u003cp>U.S. diets and the economy depend on the food harvested here, but Americans, by and large, prefer to look away and not have to recognize farmworkers to the extent we should.\u003c/p>\n\u003cp>Californians take pride in being a state that feeds the rest of the nation with our produce. This state is home to more farmworkers than any other state, with about \u003ca href=\"https://www.epi.org/blog/how-many-farmworkers-are-employed-in-the-united-states/\">800,000 seasonal and full-time workers\u003c/a> each year, representing about \u003ca href=\"https://edd.ca.gov/en/about_edd/news_releases_and_announcements/california-thanks-its-agricultural-workforce-with-45th-annual-farmworkers-appreciation-breakfast/\">2.2 percent\u003c/a> of the state’s workforce.\u003c/p>\n\u003cp>“There has not been a farmworker movement for decades,” said Miriam Pawel, a journalist who has written two books about the United Farm Workers on an \u003ca href=\"https://www.kqed.org/forum/2010101913334/california-confronts-the-cesar-chavez-allegations\">episode of Forum\u003c/a> that aired days after the \u003cem>New York Times\u003c/em> investigation was published. “Declaring something as Farmworker Day instead of Cesar Chavez Day doesn’t really do anything for the farmworkers in the fields who are working in very tough conditions right now.”\u003c/p>\n\u003cp>Farm work has been a job that we regard as something you do if you’re desperate and have no other options, instead of regarding it as a job worthy of dignity and respect because of how hard it is.\u003c/p>\n\u003cp>Looking away from farm work is another way that the labor and economic contributions of immigrants and Latinos are erased. But for many Mexican American families, farm work has served as an accessible stepping stone to achieve the American Dream. Despite the grueling hours and low pay, thousands of families, like my own, have had farmwork in our history.[aside postID=news_12077059 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260319-CESAR-CHAVEZ-STREET-MD-01-KQED.jpg']A few years ago, photos of graduates donning their cap and gowns surrounded by orchards went viral. The graduates in regalia, contrasting with the lush green of fruit trees, were both visually and emotionally striking because farm work and education come off as incompatible, as opposites. The images conveyed the message that leaving the fields equates to progress, but those images also conveyed gratitude for parents who taught their children what hard work looks like and that the returns can be worth so much more than a paycheck.\u003c/p>\n\u003cp>Those weeks picking cherries were what we might now call a side hustle, but they were among the most formative experiences of my life.\u003c/p>\n\u003cp>We’d usually spend a few weeks doing this while my dad took vacation from his regular job at a potato processing plant. My parents were very explicit that the reason for taking us to the fields was to teach us the value of hard work and what adults had to do to make money.\u003c/p>\n\u003cp>The lessons from those summers in the fields informed so much of my work ethic and the value of manual labor. I also had the privilege of knowing that my days picking cherries were numbered. I would eventually return to school, and if I earned good grades, my parents told me, I would have other career options. But I also knew there were many people who would spend their whole working lives in the fields.\u003c/p>\n\u003cp>Whenever I buy cherries, I think about how each little bunch was probably picked by someone — a real person, like me — who deserves to be compensated for their hard work. And for that, we have to keep the fight alive and make sure state holidays and words of praise have substance. It means not looking away from farm work and giving that occupation the respect it deserves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "California’s new Farmworkers Day, replacing Cesar Chavez Day, spotlights farmworker labor, immigration, and economic inequality but raises questions about whether the holiday will bring meaningful change for agricultural workers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I think back on my childhood summers, a few activities stand out: reading lots of library books, watching \u003cem>The Price is Right\u003c/em>, and picking cherries.\u003c/p>\n\u003cp>I was about eight or nine years old the first time my dad woke my brother and me up at dawn and took us out to work in cherry orchards that surrounded my hometown in Eastern Washington.\u003c/p>\n\u003cp>I remember lying down in the backseat, trying to capture a few more minutes of sleep before we’d arrive and park among the rows and rows of trees, strap a metal bucket to our chests, and embark on a full day of filling that bucket over and over. My dad and brother, who is a year older than I am, often handled the higher branches that required using a ladder, while I excelled at the low-hanging fruit. We’d come home covered in dirt and exhausted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last month, California lawmakers \u003ca href=\"https://www.kqed.org/news/12077073/cesar-chavez-was-a-hero-to-farmworkers-now-they-confront-the-pain-of-alleged-abuse\">renamed a state holiday\u003c/a> on March 31 to Farmworkers Day after the \u003ca href=\"https://www.nytimes.com/2026/03/18/us/cesar-chavez-sexual-abuse-allegations-ufw.html\">\u003cem>New York Times\u003c/em> published allegations\u003c/a> that now-disgraced labor rights icon Cesar Chavez had abused young women.\u003c/p>\n\u003cp>The renaming happened swiftly. Lawmakers called the change “long overdue” as if we are rectifying a wrong that should have been fixed years ago. But, to me, this incident reinforces how farmworkers have been marginalized, discriminated against, and overlooked for centuries in the United States since the time enslaved people did most farm work.\u003c/p>\n\u003cfigure id=\"attachment_12077027\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12077027\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/GettyImages-515109272-scaled-e1773940356467.jpg\" alt=\"\" width=\"2000\" height=\"1443\">\u003cfigcaption class=\"wp-caption-text\">Farm labor leader Cesar Chavez pickets outside the San Diego-area headquarters of Safeway markets. It was in protest over the arrest of 29 persons at a Delano, California, Safeway. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My hope would be that this holiday becomes a substantive and longstanding tradition, but I’m skeptical. We have Mother’s Day, but research shows that moms are some of the most overworked, undercompensated and stretched-thin members of society. But, hey, we love our moms!\u003c/p>\n\u003cp>The same type of hollow praise could happen to farmworkers. Farm labor is considered a category separate from all other types of jobs, hence that unartful term “nonfarm jobs” that makes up most jobs in America.\u003c/p>\n\u003cp>According to an \u003ca href=\"https://www.stlouisfed.org/open-vault/2019/july/nonfarm-payrolls-why-farmers-not-included\">explainer\u003c/a> from the Federal Reserve Bank of St. Louis, “The answer may go back to early America. Highly seasonal, farming has always had a special place in our history — and our hearts.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Farm labor is hard to count because workers include farmers, their family members and hired workers who are often seasonal employees. Oh, and a lot of them lack proper authorization to work in the country, so that makes them harder to account for.\u003c/p>\n\u003cp>Plenty of other industries hire seasonal workers and hire undocumented workers, and yet they are counted. Instead, separating farm work from other categories makes it easier for employers to exploit workers and for consumers to build up a protective wall of ignorance. Americans might balk at buying a sweater made by a child in India, but we’re okay eating produce \u003ca href=\"https://www.kqed.org/forum/2010101912263/investigation-lax-state-oversight-endangers-californias-child-farmworkers\">picked by children in our own communities\u003c/a>.\u003c/p>\n\u003cp>U.S. diets and the economy depend on the food harvested here, but Americans, by and large, prefer to look away and not have to recognize farmworkers to the extent we should.\u003c/p>\n\u003cp>Californians take pride in being a state that feeds the rest of the nation with our produce. This state is home to more farmworkers than any other state, with about \u003ca href=\"https://www.epi.org/blog/how-many-farmworkers-are-employed-in-the-united-states/\">800,000 seasonal and full-time workers\u003c/a> each year, representing about \u003ca href=\"https://edd.ca.gov/en/about_edd/news_releases_and_announcements/california-thanks-its-agricultural-workforce-with-45th-annual-farmworkers-appreciation-breakfast/\">2.2 percent\u003c/a> of the state’s workforce.\u003c/p>\n\u003cp>“There has not been a farmworker movement for decades,” said Miriam Pawel, a journalist who has written two books about the United Farm Workers on an \u003ca href=\"https://www.kqed.org/forum/2010101913334/california-confronts-the-cesar-chavez-allegations\">episode of Forum\u003c/a> that aired days after the \u003cem>New York Times\u003c/em> investigation was published. “Declaring something as Farmworker Day instead of Cesar Chavez Day doesn’t really do anything for the farmworkers in the fields who are working in very tough conditions right now.”\u003c/p>\n\u003cp>Farm work has been a job that we regard as something you do if you’re desperate and have no other options, instead of regarding it as a job worthy of dignity and respect because of how hard it is.\u003c/p>\n\u003cp>Looking away from farm work is another way that the labor and economic contributions of immigrants and Latinos are erased. But for many Mexican American families, farm work has served as an accessible stepping stone to achieve the American Dream. Despite the grueling hours and low pay, thousands of families, like my own, have had farmwork in our history.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A few years ago, photos of graduates donning their cap and gowns surrounded by orchards went viral. The graduates in regalia, contrasting with the lush green of fruit trees, were both visually and emotionally striking because farm work and education come off as incompatible, as opposites. The images conveyed the message that leaving the fields equates to progress, but those images also conveyed gratitude for parents who taught their children what hard work looks like and that the returns can be worth so much more than a paycheck.\u003c/p>\n\u003cp>Those weeks picking cherries were what we might now call a side hustle, but they were among the most formative experiences of my life.\u003c/p>\n\u003cp>We’d usually spend a few weeks doing this while my dad took vacation from his regular job at a potato processing plant. My parents were very explicit that the reason for taking us to the fields was to teach us the value of hard work and what adults had to do to make money.\u003c/p>\n\u003cp>The lessons from those summers in the fields informed so much of my work ethic and the value of manual labor. I also had the privilege of knowing that my days picking cherries were numbered. I would eventually return to school, and if I earned good grades, my parents told me, I would have other career options. But I also knew there were many people who would spend their whole working lives in the fields.\u003c/p>\n\u003cp>Whenever I buy cherries, I think about how each little bunch was probably picked by someone — a real person, like me — who deserves to be compensated for their hard work. And for that, we have to keep the fight alive and make sure state holidays and words of praise have substance. It means not looking away from farm work and giving that occupation the respect it deserves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>From East San José, Paolo “Cutso” Bello has been a producer and DJ in the music scene for over 30 years. While he’s performed all across the Bay Area, without a doubt, \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> is his home. From house parties, bar mitzvahs and weddings to festivals, clubs, and competitions, Cutso has not only contributed to the city’s arts and culture landscape, he’s watched it evolve. \u003c/p>\n\u003cp>On Wednesday, Cutso helps kick off a week of festivities for San José Day, DJing at an exhibit with work from more than 100 artists at the Noble Workshop and Gallery from 5–9 p.m. Other events during the week include a photo walk, flash tattoo special, bike night and fashion showcase, leading up to Saturday’s big celebration with vendors, live music and performances at Creekside in San José. \u003c/p>\n\u003cp>Since the week celebrates all things San José, KQED Arts asked Cutso for his Top 5 San José anthems — songs that never fail to get the city energized. In no particular order, here are his picks. \u003c/p>\n\u003ch2>MC Twist, ‘I Like it Loud’\u003c/h2>\n\n\u003cp>https://www.youtube.com/watch?v=iU0KPp41M5A&list=RDiU0KPp41M5A&start_radio=1\u003c/p>\n\u003cp>With his LL Cool J-esque style, local rapper MC Twist’s “I Like it Loud” wastes little time before shouting out East San José in its introduction. It’s a record many San José DJs use in their own intros: “This is the house I rock today, and I chill in the East Side of San José.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That’s our flagship song, yo,” Cutso says. “MC Twist ‘I Like it Loud’ – that’s a big one for San José.”\u003c/p>\n\u003ch2>Stevie B, ‘Spring Love’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=DsQtMK4P9Rg&list=RDDsQtMK4P9Rg&start_radio=1\u003c/p>\n\u003cp>Lisa Lisa from Lisa Lisa and Cult Jam, one of New York City’s first Latin freestyle stars, once told Cutso that San José had always been a hotbed for freestyle. Having grown up with freestyle music, that conversation only reaffirmed what he already knew – freestyle music is rooted deep in San José culture. \u003c/p>\n\u003cp>“That is the anthem that really speaks to generations born and raised in San José,” Custo says. “You ask anybody from San José what’s the first freestyle song that pops in their head, it’s ‘Spring Love.’”\u003c/p>\n\u003ch2>Rey Resurreccion, ‘The Hometown’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=7r0GuYEbeJ8\u003c/p>\n\u003cp>Produced by Cutso during what he refers to as his city’s “streetwear and art renaissance,” “The Hometown” captures the nostalgia of growing up surrounded by San José culture. \u003c/p>\n\u003cp>“We didn’t even set out to make that song an anthem,” he tells KQED. “We were just like, ‘Let’s just make a song about San José.’ I sampled a banda record and made that as a joke, and Rey was like, ‘Yo, let me try messing with that one.’ So, he ended up writing a song about growing up in San José, and it spoke to a lot of people who grew up in San José.”\u003c/p>\n\u003ch2>Traxamillion ft. Too Short and Mistah F.A.B, ‘Sideshow’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=h4d7UwaNrIQ&list=RDh4d7UwaNrIQ&start_radio=1\u003c/p>\n\u003cp>While “Sideshow” pays homage to Oakland street culture, the track’s roots can be traced back to San José’s \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound/?\">Traxamillion\u003c/a>, who helped solidify San José as an anchor of the Bay Area hip-hop scene. \u003c/p>\n\u003cp>“He was heavily involved in the hyphy scene, and that was a big thing in San José. I saw a lot of my underground rap friends from San José turn into hyphy rappers overnight,” Cutso says. “Traxamillion was part of that scene. He was really driving the San José sect of the hyphy scene, producing for a lot of big cats out in Oakland and San Francisco, and really helping drive the movement.”\u003c/p>\n\u003ch2>Brenton Wood, ‘Gimmie Little Sign’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=bSMiqJSb0Zs&list=RDbSMiqJSb0Zs&start_radio=1\u003c/p>\n\u003cp>San José is synonymous with lowrider culture, so it only makes sense that one of Cutso’s picks is a staple of lowrider cruises. \u003c/p>\n\u003cp>“Oldies culture and lowrider culture was such a big thing,” Cutso says. “There’s so many artists I could have picked from that whole pool, but Brenton Wood was the first one to come to mind, just because I’d seen him live numerous times in San José.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Day events run April 8–12 at various locations, with San José Day itself taking place on Saturday, April 11, at Creekside (52 Barack Obama Blvd., San José). \u003ca href=\"https://www.sanjoseday.org/\">More information can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From East San José, Paolo “Cutso” Bello has been a producer and DJ in the music scene for over 30 years. While he’s performed all across the Bay Area, without a doubt, \u003ca href=\"https://www.kqed.org/arts/tag/san-jose\">San José\u003c/a> is his home. From house parties, bar mitzvahs and weddings to festivals, clubs, and competitions, Cutso has not only contributed to the city’s arts and culture landscape, he’s watched it evolve. \u003c/p>\n\u003cp>On Wednesday, Cutso helps kick off a week of festivities for San José Day, DJing at an exhibit with work from more than 100 artists at the Noble Workshop and Gallery from 5–9 p.m. Other events during the week include a photo walk, flash tattoo special, bike night and fashion showcase, leading up to Saturday’s big celebration with vendors, live music and performances at Creekside in San José. \u003c/p>\n\u003cp>Since the week celebrates all things San José, KQED Arts asked Cutso for his Top 5 San José anthems — songs that never fail to get the city energized. In no particular order, here are his picks. \u003c/p>\n\u003ch2>MC Twist, ‘I Like it Loud’\u003c/h2>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iU0KPp41M5A'\n title='//www.youtube.com/embed/iU0KPp41M5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With his LL Cool J-esque style, local rapper MC Twist’s “I Like it Loud” wastes little time before shouting out East San José in its introduction. It’s a record many San José DJs use in their own intros: “This is the house I rock today, and I chill in the East Side of San José.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s our flagship song, yo,” Cutso says. “MC Twist ‘I Like it Loud’ – that’s a big one for San José.”\u003c/p>\n\u003ch2>Stevie B, ‘Spring Love’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DsQtMK4P9Rg'\n title='//www.youtube.com/embed/DsQtMK4P9Rg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lisa Lisa from Lisa Lisa and Cult Jam, one of New York City’s first Latin freestyle stars, once told Cutso that San José had always been a hotbed for freestyle. Having grown up with freestyle music, that conversation only reaffirmed what he already knew – freestyle music is rooted deep in San José culture. \u003c/p>\n\u003cp>“That is the anthem that really speaks to generations born and raised in San José,” Custo says. “You ask anybody from San José what’s the first freestyle song that pops in their head, it’s ‘Spring Love.’”\u003c/p>\n\u003ch2>Rey Resurreccion, ‘The Hometown’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7r0GuYEbeJ8'\n title='//www.youtube.com/embed/7r0GuYEbeJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Produced by Cutso during what he refers to as his city’s “streetwear and art renaissance,” “The Hometown” captures the nostalgia of growing up surrounded by San José culture. \u003c/p>\n\u003cp>“We didn’t even set out to make that song an anthem,” he tells KQED. “We were just like, ‘Let’s just make a song about San José.’ I sampled a banda record and made that as a joke, and Rey was like, ‘Yo, let me try messing with that one.’ So, he ended up writing a song about growing up in San José, and it spoke to a lot of people who grew up in San José.”\u003c/p>\n\u003ch2>Traxamillion ft. Too Short and Mistah F.A.B, ‘Sideshow’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h4d7UwaNrIQ'\n title='//www.youtube.com/embed/h4d7UwaNrIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While “Sideshow” pays homage to Oakland street culture, the track’s roots can be traced back to San José’s \u003ca href=\"https://www.kqed.org/arts/13907735/remembering-traxamillion-whose-beats-defined-the-bay-area-sound/?\">Traxamillion\u003c/a>, who helped solidify San José as an anchor of the Bay Area hip-hop scene. \u003c/p>\n\u003cp>“He was heavily involved in the hyphy scene, and that was a big thing in San José. I saw a lot of my underground rap friends from San José turn into hyphy rappers overnight,” Cutso says. “Traxamillion was part of that scene. He was really driving the San José sect of the hyphy scene, producing for a lot of big cats out in Oakland and San Francisco, and really helping drive the movement.”\u003c/p>\n\u003ch2>Brenton Wood, ‘Gimmie Little Sign’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bSMiqJSb0Zs'\n title='//www.youtube.com/embed/bSMiqJSb0Zs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San José is synonymous with lowrider culture, so it only makes sense that one of Cutso’s picks is a staple of lowrider cruises. \u003c/p>\n\u003cp>“Oldies culture and lowrider culture was such a big thing,” Cutso says. “There’s so many artists I could have picked from that whole pool, but Brenton Wood was the first one to come to mind, just because I’d seen him live numerous times in San José.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>San José Day events run April 8–12 at various locations, with San José Day itself taking place on Saturday, April 11, at Creekside (52 Barack Obama Blvd., San José). \u003ca href=\"https://www.sanjoseday.org/\">More information can be found here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Jimmy Smits and Wanda De Jesús Help Reimagine ‘All My Sons’ at Berkeley Rep",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I have to admit, meeting celebrities is an awkward part of my job as a journalist. Still, when actors Jimmy Smits and Wanda De Jesús came to KQED’s studios recently for \u003ca href=\"https://www.kqed.org/forum/2010101913094/real-life-couple-jimmy-smits-and-wanda-de-jesus-play-husband-and-wife-in-berkeley-reps-all-my-sons\">an interview on Forum\u003c/a> about a production of \u003cem>All My Sons\u003c/em> in which they are starring for Berkeley Rep, I wasn’t sure what to expect.\u003c/p>\n\u003cp>Smits became a household name in the 1980s thanks to his appearances on hit TV shows, including \u003cem>L.A. Law\u003c/em> and \u003cem>NYPD Blue\u003c/em>. I first noticed him in \u003cem>My Family\u003c/em>, a 1995 hit that is considered a seminal Latino film. De Jesús has starred in dozens of movies and television shows, including \u003cem>CSI: Miami\u003c/em>, \u003cem>Gentefied\u003c/em> and \u003cem>RoboCop 2.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seeing Smits, De Jesús, his costar and real-life partner, and the play’s director, David Mendizábal, all hanging out before the interview, I experienced a moment of awe from being in the presence of three powerhouse Latine artists and realized this is what true representation looks like. Mendizábal was the behind-the-scenes mastermind who created a space for two brilliant actors to shine.\u003c/p>\n\u003cp>\u003cem>All My Sons\u003c/em> tells the story of a father whose success in business allows him to attain the American Dream, but at a high cost to himself and everyone around him. Legendary playwright Arthur Miller wrote it in 1947 with all-white characters, but when Mendizábal studied it in high school, they imagined a different cast.\u003c/p>\n\u003cp>“It’s a play that I always wanted to do since I first read it. I immediately saw my family in it, even though it wasn’t written for them,” they said. “I grew up in a time when I had to see myself in the stories of white people. You like this thing, but you can’t find yourself in it, so how can you imagine yourself in it?”\u003c/p>\n\u003cp>https://www.instagram.com/reel/DVkmbG4DUUM/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\u003c/p>\n\u003cp>In their role as associate artistic director at Berkeley Rep, Mendizábal, now 41, is in a position to make their vision and version of a story into reality. They reimagined the main characters as Puerto Rican and brought in Black and Latino actors for other roles while keeping the script and characters’ names intact.\u003c/p>\n\u003cp>“What really piqued my interest was David’s take on what he wanted to say with this particular piece,” Smits said during his interview on Forum. “And, how, on a cultural level, we can brushstroke in the importance of the piece itself in 1947 and add these other touches without changing the basic tenets of the play.”[aside postID=news_12073361 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED.jpg']Mendizábal grew up in Orlando, Fla., where they were raised by a father from Ecuador and a mother from Puerto Rico. They learned about the art of performing from watching their father, an immigration attorney, defend his clients in court.\u003c/p>\n\u003cp>“It was like watching a play, like an actor telling people’s stories,” they said. “It showed me the power of performance and how the power of someone’s story could change lives.”\u003c/p>\n\u003cp>Mendizábal’s high school drama program set them on a trajectory to study theater at New York University. They stayed in New York working for various theater companies, including The Movement Theatre Company, where they worked for 15 years before joining Berkeley Rep in 2022.\u003c/p>\n\u003cp>While New York is the epicenter of American theater, Berkeley Rep offered Mendizábal an opportunity to stage larger, more ambitious projects. Their previous productions for Berkeley Rep include \u003cem>Mexodus\u003c/em>, \u003cem>Mother Road\u003c/em> and \u003cem>Sanctuary City\u003c/em>, all of which were written by playwrights of color and featured diverse casts.\u003c/p>\n\u003cp>Mendizábal’s goal is to produce great art that incorporates their values of promoting social justice, radical inclusion, and anti-racism. They recalled that their mother discouraged them from pursuing a career in theater, not because she didn’t believe in them, but because she couldn’t see a path forward for them.\u003c/p>\n\u003cfigure id=\"attachment_12075845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12075845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Mendizábal, associate artistic director at Berkeley Rep, directed the theater company’s production of “All My Sons,” starring Jimmy Smits and Wanda De Jesús. \u003ccite>(Courtesy of Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendizábal realized early that they didn’t want to be an actor or a writer. Instead, they wanted to focus on working behind the scenes to shape stories and bring productions to life.\u003c/p>\n\u003cp>“The reality in arts and entertainment is who are the ones making the decisions — it’s not the actors,” they said. “There’s real power in being the one who gets to invite people in the room to do the thing they love.”\u003c/p>\n\u003cp>When it came time to cast \u003cem>All My Sons\u003c/em>, Mendizábal immediately thought of Smits, even though it felt aspirational despite Berkeley Rep’s reputation for attracting big-name actors.\u003c/p>\n\u003cp>Mendizábal had seen Smits in \u003cem>Anna in the Tropics\u003c/em> more than 20 years ago in a rare all-Latino cast in a Broadway play. It turned out Smits and De Jesús had costarred in the Berkeley Rep production of \u003cem>The Guys\u003c/em> in 2003, so they were interested.\u003c/p>\n\u003cp>When I saw the play with my mother, I was captivated by the entire cast and the storytelling. One of the plotlines involves two brothers who fought in World War II. One brother disappears, and the other returns home and wants to marry his brother’s former girlfriend, which felt very telenovela-like to my mom and me. The play’s themes are universal, Mendizábal said, which is why it makes sense to bring a new lens to the characters.\u003c/p>\n\u003cp>Experiencing live theater, especially when it includes actors like Smits and De Jesús, who you are used to seeing on a screen, was awe-inspiring.\u003c/p>\n\u003cp>Even as the entertainment industry continues to sideline Latino actors and stories, meeting Mendizábal, Smits and De Jesús reminded me of the amazing art our people produce and why it’s so important to support them, especially this close to home.\u003c/p>\n\u003cp>It’s no small feat for Smits, 70, and De Jesús, 68, to have sustained decadeslong careers in acting, a notoriously challenging field, especially for Latine artists.\u003c/p>\n\u003cp>“There is a demonization of all things Latino, the culture. Unfortunately, this (presidential) administration has made half of the country afraid of the other and what it represents,” De Jesús told me. “Our culture informs us, but we are creative human beings. And working with David, he comes from the same mindset. He is Latino and proud of it, but his imagination as a creator, he works with people that can think beyond the tropes and beyond the stereotypes and that’s what is so exciting. His future voice is very important in the theater.”\u003c/p>\n\u003cp>\u003cem>All My Sons at Berkeley Repertory Theatre runs through March 29 at Roda Theatre, 2025 Addison St., Berkeley. Tickets cost $25-$135.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>I have to admit, meeting celebrities is an awkward part of my job as a journalist. Still, when actors Jimmy Smits and Wanda De Jesús came to KQED’s studios recently for \u003ca href=\"https://www.kqed.org/forum/2010101913094/real-life-couple-jimmy-smits-and-wanda-de-jesus-play-husband-and-wife-in-berkeley-reps-all-my-sons\">an interview on Forum\u003c/a> about a production of \u003cem>All My Sons\u003c/em> in which they are starring for Berkeley Rep, I wasn’t sure what to expect.\u003c/p>\n\u003cp>Smits became a household name in the 1980s thanks to his appearances on hit TV shows, including \u003cem>L.A. Law\u003c/em> and \u003cem>NYPD Blue\u003c/em>. I first noticed him in \u003cem>My Family\u003c/em>, a 1995 hit that is considered a seminal Latino film. De Jesús has starred in dozens of movies and television shows, including \u003cem>CSI: Miami\u003c/em>, \u003cem>Gentefied\u003c/em> and \u003cem>RoboCop 2.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seeing Smits, De Jesús, his costar and real-life partner, and the play’s director, David Mendizábal, all hanging out before the interview, I experienced a moment of awe from being in the presence of three powerhouse Latine artists and realized this is what true representation looks like. Mendizábal was the behind-the-scenes mastermind who created a space for two brilliant actors to shine.\u003c/p>\n\u003cp>\u003cem>All My Sons\u003c/em> tells the story of a father whose success in business allows him to attain the American Dream, but at a high cost to himself and everyone around him. Legendary playwright Arthur Miller wrote it in 1947 with all-white characters, but when Mendizábal studied it in high school, they imagined a different cast.\u003c/p>\n\u003cp>“It’s a play that I always wanted to do since I first read it. I immediately saw my family in it, even though it wasn’t written for them,” they said. “I grew up in a time when I had to see myself in the stories of white people. You like this thing, but you can’t find yourself in it, so how can you imagine yourself in it?”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In their role as associate artistic director at Berkeley Rep, Mendizábal, now 41, is in a position to make their vision and version of a story into reality. They reimagined the main characters as Puerto Rican and brought in Black and Latino actors for other roles while keeping the script and characters’ names intact.\u003c/p>\n\u003cp>“What really piqued my interest was David’s take on what he wanted to say with this particular piece,” Smits said during his interview on Forum. “And, how, on a cultural level, we can brushstroke in the importance of the piece itself in 1947 and add these other touches without changing the basic tenets of the play.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mendizábal grew up in Orlando, Fla., where they were raised by a father from Ecuador and a mother from Puerto Rico. They learned about the art of performing from watching their father, an immigration attorney, defend his clients in court.\u003c/p>\n\u003cp>“It was like watching a play, like an actor telling people’s stories,” they said. “It showed me the power of performance and how the power of someone’s story could change lives.”\u003c/p>\n\u003cp>Mendizábal’s high school drama program set them on a trajectory to study theater at New York University. They stayed in New York working for various theater companies, including The Movement Theatre Company, where they worked for 15 years before joining Berkeley Rep in 2022.\u003c/p>\n\u003cp>While New York is the epicenter of American theater, Berkeley Rep offered Mendizábal an opportunity to stage larger, more ambitious projects. Their previous productions for Berkeley Rep include \u003cem>Mexodus\u003c/em>, \u003cem>Mother Road\u003c/em> and \u003cem>Sanctuary City\u003c/em>, all of which were written by playwrights of color and featured diverse casts.\u003c/p>\n\u003cp>Mendizábal’s goal is to produce great art that incorporates their values of promoting social justice, radical inclusion, and anti-racism. They recalled that their mother discouraged them from pursuing a career in theater, not because she didn’t believe in them, but because she couldn’t see a path forward for them.\u003c/p>\n\u003cfigure id=\"attachment_12075845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12075845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02.jpg\" alt=\"\" width=\"2000\" height=\"1429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/03/260309-K-ONDA-MARCH-02-1536x1097.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">David Mendizábal, associate artistic director at Berkeley Rep, directed the theater company’s production of “All My Sons,” starring Jimmy Smits and Wanda De Jesús. \u003ccite>(Courtesy of Ben Krantz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mendizábal realized early that they didn’t want to be an actor or a writer. Instead, they wanted to focus on working behind the scenes to shape stories and bring productions to life.\u003c/p>\n\u003cp>“The reality in arts and entertainment is who are the ones making the decisions — it’s not the actors,” they said. “There’s real power in being the one who gets to invite people in the room to do the thing they love.”\u003c/p>\n\u003cp>When it came time to cast \u003cem>All My Sons\u003c/em>, Mendizábal immediately thought of Smits, even though it felt aspirational despite Berkeley Rep’s reputation for attracting big-name actors.\u003c/p>\n\u003cp>Mendizábal had seen Smits in \u003cem>Anna in the Tropics\u003c/em> more than 20 years ago in a rare all-Latino cast in a Broadway play. It turned out Smits and De Jesús had costarred in the Berkeley Rep production of \u003cem>The Guys\u003c/em> in 2003, so they were interested.\u003c/p>\n\u003cp>When I saw the play with my mother, I was captivated by the entire cast and the storytelling. One of the plotlines involves two brothers who fought in World War II. One brother disappears, and the other returns home and wants to marry his brother’s former girlfriend, which felt very telenovela-like to my mom and me. The play’s themes are universal, Mendizábal said, which is why it makes sense to bring a new lens to the characters.\u003c/p>\n\u003cp>Experiencing live theater, especially when it includes actors like Smits and De Jesús, who you are used to seeing on a screen, was awe-inspiring.\u003c/p>\n\u003cp>Even as the entertainment industry continues to sideline Latino actors and stories, meeting Mendizábal, Smits and De Jesús reminded me of the amazing art our people produce and why it’s so important to support them, especially this close to home.\u003c/p>\n\u003cp>It’s no small feat for Smits, 70, and De Jesús, 68, to have sustained decadeslong careers in acting, a notoriously challenging field, especially for Latine artists.\u003c/p>\n\u003cp>“There is a demonization of all things Latino, the culture. Unfortunately, this (presidential) administration has made half of the country afraid of the other and what it represents,” De Jesús told me. “Our culture informs us, but we are creative human beings. And working with David, he comes from the same mindset. He is Latino and proud of it, but his imagination as a creator, he works with people that can think beyond the tropes and beyond the stereotypes and that’s what is so exciting. His future voice is very important in the theater.”\u003c/p>\n\u003cp>\u003cem>All My Sons at Berkeley Repertory Theatre runs through March 29 at Roda Theatre, 2025 Addison St., Berkeley. Tickets cost $25-$135.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "yosimar-reyes-play-no-llegamos-aqui-solos-ice-raids-east-san-jose",
"title": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants",
"publishDate": 1771081256,
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"headTitle": "While ICE Raids Loom, ‘No Llegamos Aquí Solos’ Is for Immigrants, by Immigrants | KQED",
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"content": "\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>[aside postID='arts_13904861']\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003c/i>\u003ca href=\"https://www.kqed.org/newsletters/k-onda\">\u003ci>Click here to subscribe\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>When poet \u003ca href=\"https://www.kqed.org/arts/13904861/abuela-mexican-kitchen-undocumented-workers-san-jose\">Yosimar Reyes\u003c/a> started writing the play \u003ci>No Llegamos Aquí Solos\u003c/i> in early 2025, he could not have pictured the extent of the Trump administration’s violent crackdown on undocumented immigrants. But fear and injustice is all too familiar for Reyes, 37, who came to the United States from Mexico when he was three years old and lived for many years without authorization.\u003c/p>\n\u003cp>Decades of storytellers’ efforts to humanize undocumented people have evidently failed to convince people that immigrants are people too, Reyes tells KQED. So when Teatro Visión tapped Reyes to write a play, he focused on speaking directly to immigrants and celebrating them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ci>No Llegamos Aquí Solos\u003c/i> (which translates as “we did not come here alone”) tells the stories of characters living in an East San José apartment building in the lead-up to a raid by immigration enforcement. “I wanted to showcase the different characters that I grew up with, and write about the people that inspired me to become a poet,” says Reyes, who is a DACA recipient and serves as Santa Clara County’s Poet Laureate.\u003c/p>\n\u003cp>\u003ci>No Llegamos Aquí Solos \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">runs through Feb. 22\u003c/a> at Mexican Heritage Plaza Theater in San José. KQED’s Blanca Torres talked with Reyes about his experience writing the play and seeing it come to the stage in this current moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This conversation was edited for length and clarity. \u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13986728\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg\" alt=\"\" width=\"2000\" height=\"1384\" class=\"size-full wp-image-13986728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/N-1536x1063.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘No Llegamos Aquí Solos.’ \u003ccite>(Ugho Badú)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Blanca Torres: Can you tell me about some characters in this play that you created based on your life? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Yosimar Reyes\u003c/b>: The script follows a series of neighbors. They’re undocumented, but they all have a different issue that’s impacting them. Oftentimes, plays or stories about undocumented people are meant to educate people. What’s more important is to hold a mirror to undocumented people. There’s a scene where a group of day laborers are all living in one apartment. There’s another character who sells food in the courtyard. It was important to also showcase the way in which characters contribute back to the community as well.\u003c/p>\n\u003cp>\u003cb>How do you feel about the stage production of the play coming at this particular moment? \u003c/b>\u003c/p>\n\u003cp>I’ve always been keenly aware of the way undocumented people have been represented. That has been the looming theme in a lot of my work. My grandmother, who I was a caregiver to, passed away in November 2024. I had advanced parole, which allows me to leave my country, so I was able to transport her remains back to Mexico. That was like an awakening. The story of so many undocumented immigrants that return home is either they are deported or in a coffin. I don’t necessarily want that to be my fate.\u003c/p>\n\u003cp>The character Ignacio, throughout the play, is bombarded with all these ICE raids that he’s seeing. And because he’s so focused on preparing, he forgets to enjoy the little moments or the small things that are happening. The play juxtaposes the madness of living under this constant threat of deportation with \u003ci>how do undocumented people actually live full lives\u003c/i>?\u003c/p>\n\u003cfigure id=\"attachment_13904928\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg\" alt=\"An elderly Latina woman and her grandson post for a portrait outdoors in their tree-lined backyard.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13904928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/023_SanJose_MardoniaGaleana_10072021-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Yosimar Reyes (right) and his grandmother, pictured in East San José in 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So has your thinking about telling the stories of undocumented people changed?\u003c/b>\u003c/p>\n\u003cp>We spent so much time and energy telling undocumented narratives, and it was to no avail, because people are willing to believe that we’re all these negative things. I wanted to write a play that’s unapologetic and is catered to my community. The question that I’m asking undocumented people is: What are the sacred things you lose when you choose to remain here? And how do we start taking care of our mental and spiritual well-being? The reality is that the deportation machine is going to grow and we are going to have to leave. How do we hold on to things that are more sacred than papers?\u003c/p>\n\u003cp>\u003cb>Can you tell more about East San José? Is this a community that people know a lot about? \u003c/b>\u003c/p>\n\u003cp>What happens with San José is we are put under the umbrella of Silicon Valley, right? There’s so much tech. There’s so much innovation. When I was growing up, that was kind of frustrating because I was like, yes, that’s downtown. The East Side is different. There’s multiple families in an apartment. People are living in deplorable housing conditions because we have slumlords. My grandma used to recycle bottles and cans. She used to hustle to pay the rent. We have families that are just trying to stay in this very, very expensive city. I remember growing up constantly feeling like an outsider. Yes, we might not be acknowledged, but we’re contributing to this city. We’re living full lives in this corner of the city.\u003c/p>\n\u003cfigure id=\"attachment_13986729\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg\" alt=\"\" width=\"560\" height=\"382\" class=\"size-full wp-image-13986729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/NoLLegamos.Cast_-160x109.jpg 160w\" sizes=\"auto, (max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Yosimar Reyes’ ‘No Llegamos Aquí Solos.’ Says Reyes, ‘Over the play, there’s this looming presence of the ICE raid, but the characters are cracking jokes. They’re making fun of each other. They have dark humor. They’re pushing through it.’ \u003ccite>(Italia Bautista Barcenas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What do you see, longer-term, coming out of the current immigration enforcement? How would you want things to either change or for the community to change? \u003c/b>\u003c/p>\n\u003cp>This country has always had a turbulent relationship with immigrants and people of color. Look at the history of the Civil Rights movement. There are Americans losing their civil liberties because they want to believe this lie that I’m a criminal. At this moment, undocumented people need to protect their energy. We need to enjoy our families. We need to start saving and dreaming of a different future.\u003c/p>\n\u003cp>For so long we have been told this is the only place we could build, that our home is here, that this is the only place we can make it. And all this effort that I have been putting in for 30-something years to become legal and doing things the right way, and it’s not happening – we are not going to get legalized anytime soon. So can we take time to pause, assess, protect our energy and really start thinking: If I have to go, how do I not lose a sense of myself and know that I have the fortitude to build all of this again?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘No Llegamos Aquí Solos’ runs through Sunday, Feb. 22, at the Mexican Heritage Plaza Theater in San José. \u003c/i>\u003ca href=\"https://www.teatrovision.org/nllas\">\u003ci>Tickets and more information here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "venezuelan-dance-group-in-the-bay-area-keeps-culture-alive-for-a-new-generation",
"title": "Venezuelan Dance Group in the Bay Area Keeps Culture Alive for a New Generation",
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"headTitle": "Venezuelan Dance Group in the Bay Area Keeps Culture Alive for a New Generation | KQED",
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"content": "\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>On a recent Sunday afternoon in a Campbell dance studio, Michille Paulin and Carolina Meneses were busy trying to explain to a group of young kids their roles in a dance routine based on El Calypso de Callao, a festival from \u003ca href=\"https://www.kqed.org/news/12068663/a-really-confusing-moment-bay-area-venezuelans-struggle-to-make-sense-of-us-attack\">Venezuela\u003c/a>.\u003c/p>\n\u003cp>The dancers will wear a lot of gold for the performance, the women tell the children, because the routine celebrates El Callao, a city in Venezuela where people from the Caribbean nation of Trinidad moved to work in gold mines centuries ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Are they millionaires?” one child asks, astonished.\u003c/p>\n\u003cp>“Oh yes,” Meneses replies. “There’s a lot of gold in El Callao.”\u003c/p>\n\u003cp>The lesson was part choreography, part history and culture class. Paulin and Meneses are co-founders of Dulce Tricolor, a group they founded in 2019, focused on teaching traditional folk dances from Venezuela.\u003c/p>\n\u003cfigure id=\"attachment_12071043\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carolina Meneses (center) speaks with a student during morning lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group’s mission of celebrating Venezuelan culture feels even more relevant now, as the country’s political woes are making headlines with the U.S. government’s \u003ca href=\"https://www.kqed.org/news/12069211/after-maduros-capture-venezuela-faces-old-u-s-shadows-and-uncertain-future\">capture of the country’s leader\u003c/a>, Nicolás Maduro.\u003c/p>\n\u003cp>“I’ve been in the U.S. for 23 years, and I feel that I’m very well acculturated to the U.S., but I miss my roots, I miss my traditions, I miss my country,” said Paulin, 46.\u003c/p>\n\u003cp>“This was a way to keep it alive for me, for my kids, for our community and then most importantly to share with the Bay Area what Venezuela is. And to make sure that everybody knows that we are more than what they see these days on the news.”\u003c/p>\n\u003cfigure id=\"attachment_12071041\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students participate in youth morning lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The future of Venezuela is unclear, but its political and economic instability has plagued the South American nation for nearly two decades, forcing a quarter of the population to emigrate.\u003c/p>\n\u003cp>Still, Americans have little understanding of the Venezuelan people or culture.\u003c/p>\n\u003cp>The Venezuelan diaspora in the Bay Area is relatively small. An estimated 770,000 Venezuelan natives lived in the United States in 2024, with 3%, or about 23,000, in California, according to the Migration Policy Institute.[aside postID=news_12069211 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/GettyImages-2254673550.jpg']I wanted to find out more about the Venezuelan community in the Bay Area, so I reached out to Paulin to learn about Dulce Tricolor.\u003c/p>\n\u003cp>The group, formed in 2019, obtained nonprofit status and now has about two dozen members who perform at events all over the Bay Area, including an annual Christmas showcase in December.\u003c/p>\n\u003cp>The group is divided into age groups — ages 4 to 7, 8 to 15, and 15 and up — that practice every Sunday at a dance studio tucked away in a strip mall.\u003c/p>\n\u003cp>After moving to the Bay Area in 2017, Paulin struggled to expose her three kids to Venezuelan culture here.\u003c/p>\n\u003cp>“Although we speak Spanish at home and we eat arepas and all the stuff, having something more structured was better,” Paulin said.\u003c/p>\n\u003cp>Seven years ago, she was shopping in a grocery store when a woman overheard her speaking, recognized her accent and invited her to join a WhatsApp group for Venezuelan women in the Bay Area. That chance encounter led to the formation of Dulce Tricolor.\u003c/p>\n\u003cfigure id=\"attachment_12071039\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students participate in morning lessons for youth ages 4 to 7 at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell, California, on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have friends from everywhere, but being close to Venezuelans gives me a special fulfillment I get out of being with people that speak the same language and the same culture,” Paulin said. “It was very exciting to find this group.”\u003c/p>\n\u003cp>For Paulin and Meneses, preserving and sharing Venezuelan traditions has been a lifeline in their adopted homes.\u003c/p>\n\u003cp>“It has been amazing because at first there were not too many Venezuela people,” said Meneses, who left Venezuela in 2010 and now lives in Campbell. “In these last few years, a lot of people that came from Venezuela and that is good for one part, but it’s not for another part because a lot of people are leaving our country for the situation. But, also, we have been building a very beautiful community.”\u003c/p>\n\u003cp>When I asked the young dancers what they took from being part of Dulce Tricolor, they said things like “confidence,” “community,” and a “fun time with my friends.”\u003c/p>\n\u003cfigure id=\"attachment_12071042\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071042\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carolina Meneses, left, and Michelle Paulin, center, instruct youth during morning lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the kids practice reminded me of the years I spent learning and performing traditional Mexican folklorico dances when I was in elementary school. Looking back, those were some of the most formative experiences of my childhood because they reinforced pride, appreciation and understanding of my Mexican roots.\u003c/p>\n\u003cp>It’s empowering to not just be exposed to a cultural tradition, but to embody it and act as a representative.[aside postID=arts_13986280 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2026/02/012026_BadBunnyBayArea_GH_019_qed.jpg']The group’s next performance is slated for March 1 at Fuego Sports Bar in Sunnyvale that will feature music, live performances, food and a community forum.\u003c/p>\n\u003cp>The idea, Paulin said, is to combine tradition and celebration with taking time for Venezuelans to process the current moment with each other.\u003c/p>\n\u003cp>\u003cspan style=\"background-color: transparent\">“We don’t know what the future will bring. We don’t really know if the future will be better or not, based on what happened recently,” Paulin said.\u003c/span>\u003c/p>\n\u003cp>The event is about “giving that space for people to express, let the feelings flow, because it’s conflicting right now. Some people are happy, some people are not happy, people are stressed, some are feeling many different things.”\u003c/p>\n\u003cp>The day I visited the group’s rehearsal, a group of adults assembled in the back parking lot to practice for the March 1 event. They wanted to play the music live, even though they are amateur musicians, and were horrified when they realized my recorder was on while they played.\u003c/p>\n\u003cfigure id=\"attachment_12072923\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Samantha Leon, 4, reacts during morning youth lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell, California, on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the songs they plan to play are “Mis Ilusiones,” about hope for a better future, and “Venezuela,” which Paulin described as an unofficial national anthem.\u003c/p>\n\u003cp>Paulin said hearing the music of her homeland gives her hope that, despite the uncertainty of the current moment, there might be a time soon when more Venezuelans can hear it in person at home.\u003c/p>\n\u003cp>“I still have the hope that things are going to change,” she said. “The way we feel that we support Venezuelans at home, being here in the U.S., is by keeping Venezuela alive and making sure that people don’t only listen to the bad side of the news, but also to know what Venezuela was, and hopefully will be soon enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>On a recent Sunday afternoon in a Campbell dance studio, Michille Paulin and Carolina Meneses were busy trying to explain to a group of young kids their roles in a dance routine based on El Calypso de Callao, a festival from \u003ca href=\"https://www.kqed.org/news/12068663/a-really-confusing-moment-bay-area-venezuelans-struggle-to-make-sense-of-us-attack\">Venezuela\u003c/a>.\u003c/p>\n\u003cp>The dancers will wear a lot of gold for the performance, the women tell the children, because the routine celebrates El Callao, a city in Venezuela where people from the Caribbean nation of Trinidad moved to work in gold mines centuries ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Are they millionaires?” one child asks, astonished.\u003c/p>\n\u003cp>“Oh yes,” Meneses replies. “There’s a lot of gold in El Callao.”\u003c/p>\n\u003cp>The lesson was part choreography, part history and culture class. Paulin and Meneses are co-founders of Dulce Tricolor, a group they founded in 2019, focused on teaching traditional folk dances from Venezuela.\u003c/p>\n\u003cfigure id=\"attachment_12071043\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071043\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-22-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carolina Meneses (center) speaks with a student during morning lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The group’s mission of celebrating Venezuelan culture feels even more relevant now, as the country’s political woes are making headlines with the U.S. government’s \u003ca href=\"https://www.kqed.org/news/12069211/after-maduros-capture-venezuela-faces-old-u-s-shadows-and-uncertain-future\">capture of the country’s leader\u003c/a>, Nicolás Maduro.\u003c/p>\n\u003cp>“I’ve been in the U.S. for 23 years, and I feel that I’m very well acculturated to the U.S., but I miss my roots, I miss my traditions, I miss my country,” said Paulin, 46.\u003c/p>\n\u003cp>“This was a way to keep it alive for me, for my kids, for our community and then most importantly to share with the Bay Area what Venezuela is. And to make sure that everybody knows that we are more than what they see these days on the news.”\u003c/p>\n\u003cfigure id=\"attachment_12071041\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-12-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students participate in youth morning lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The future of Venezuela is unclear, but its political and economic instability has plagued the South American nation for nearly two decades, forcing a quarter of the population to emigrate.\u003c/p>\n\u003cp>Still, Americans have little understanding of the Venezuelan people or culture.\u003c/p>\n\u003cp>The Venezuelan diaspora in the Bay Area is relatively small. An estimated 770,000 Venezuelan natives lived in the United States in 2024, with 3%, or about 23,000, in California, according to the Migration Policy Institute.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I wanted to find out more about the Venezuelan community in the Bay Area, so I reached out to Paulin to learn about Dulce Tricolor.\u003c/p>\n\u003cp>The group, formed in 2019, obtained nonprofit status and now has about two dozen members who perform at events all over the Bay Area, including an annual Christmas showcase in December.\u003c/p>\n\u003cp>The group is divided into age groups — ages 4 to 7, 8 to 15, and 15 and up — that practice every Sunday at a dance studio tucked away in a strip mall.\u003c/p>\n\u003cp>After moving to the Bay Area in 2017, Paulin struggled to expose her three kids to Venezuelan culture here.\u003c/p>\n\u003cp>“Although we speak Spanish at home and we eat arepas and all the stuff, having something more structured was better,” Paulin said.\u003c/p>\n\u003cp>Seven years ago, she was shopping in a grocery store when a woman overheard her speaking, recognized her accent and invited her to join a WhatsApp group for Venezuelan women in the Bay Area. That chance encounter led to the formation of Dulce Tricolor.\u003c/p>\n\u003cfigure id=\"attachment_12071039\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071039\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-01-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Students participate in morning lessons for youth ages 4 to 7 at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell, California, on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have friends from everywhere, but being close to Venezuelans gives me a special fulfillment I get out of being with people that speak the same language and the same culture,” Paulin said. “It was very exciting to find this group.”\u003c/p>\n\u003cp>For Paulin and Meneses, preserving and sharing Venezuelan traditions has been a lifeline in their adopted homes.\u003c/p>\n\u003cp>“It has been amazing because at first there were not too many Venezuela people,” said Meneses, who left Venezuela in 2010 and now lives in Campbell. “In these last few years, a lot of people that came from Venezuela and that is good for one part, but it’s not for another part because a lot of people are leaving our country for the situation. But, also, we have been building a very beautiful community.”\u003c/p>\n\u003cp>When I asked the young dancers what they took from being part of Dulce Tricolor, they said things like “confidence,” “community,” and a “fun time with my friends.”\u003c/p>\n\u003cfigure id=\"attachment_12071042\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12071042\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/01/DULCETRICOLOR-15-JL-012526-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Carolina Meneses, left, and Michelle Paulin, center, instruct youth during morning lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching the kids practice reminded me of the years I spent learning and performing traditional Mexican folklorico dances when I was in elementary school. Looking back, those were some of the most formative experiences of my childhood because they reinforced pride, appreciation and understanding of my Mexican roots.\u003c/p>\n\u003cp>It’s empowering to not just be exposed to a cultural tradition, but to embody it and act as a representative.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The group’s next performance is slated for March 1 at Fuego Sports Bar in Sunnyvale that will feature music, live performances, food and a community forum.\u003c/p>\n\u003cp>The idea, Paulin said, is to combine tradition and celebration with taking time for Venezuelans to process the current moment with each other.\u003c/p>\n\u003cp>\u003cspan style=\"background-color: transparent\">“We don’t know what the future will bring. We don’t really know if the future will be better or not, based on what happened recently,” Paulin said.\u003c/span>\u003c/p>\n\u003cp>The event is about “giving that space for people to express, let the feelings flow, because it’s conflicting right now. Some people are happy, some people are not happy, people are stressed, some are feeling many different things.”\u003c/p>\n\u003cp>The day I visited the group’s rehearsal, a group of adults assembled in the back parking lot to practice for the March 1 event. They wanted to play the music live, even though they are amateur musicians, and were horrified when they realized my recorder was on while they played.\u003c/p>\n\u003cfigure id=\"attachment_12072923\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12072923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2026/02/DulceTricolor-14-JL-012526_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">Samantha Leon, 4, reacts during morning youth lessons at the Dulce Tricolor Venezolano dance group at the Ariel Dance Studio in Campbell, California, on Jan. 25, 2026. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among the songs they plan to play are “Mis Ilusiones,” about hope for a better future, and “Venezuela,” which Paulin described as an unofficial national anthem.\u003c/p>\n\u003cp>Paulin said hearing the music of her homeland gives her hope that, despite the uncertainty of the current moment, there might be a time soon when more Venezuelans can hear it in person at home.\u003c/p>\n\u003cp>“I still have the hope that things are going to change,” she said. “The way we feel that we support Venezuelans at home, being here in the U.S., is by keeping Venezuela alive and making sure that people don’t only listen to the bad side of the news, but also to know what Venezuela was, and hopefully will be soon enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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